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DANCE
ANATOMY
Jacqui Greene Haas
Human Kinetics
Library of Congress Cataloging-in-Publication Data
Haas, Jacqui Greene, 1958Dance anatomy / Jacqui Greene Haas.
p. cm.
ISBN-13: 978-0-7360-8193-1 (soft cover)
ISBN-10: 0-7360-8193-3 (soft cover)
1. Dance--Physiological aspects. I. Title.
RC1220.D35H33 2010
612’.044--dc22
2009045722
ISBN-10: 0-7360-8193-3 (print)
ISBN-13: 978-0-7360-8193-1 (print)
Copyright © 2010 by Jacqui Greene Haas
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E4776
Contents
Preface v
Acknowledgments viii
CHapter
1
tHe DanCer in
Motion . . . . . . . . . . . . . . . 1
CHapter
2
spine . . . . . . . . . . . . . . . . 13
CHapter
3
ribs anD breatH . . . . . 33
CHapter
4
Core . . . . . . . . . . . . . . . . 51
CHapter
5
sHoulDer GirDle
anD arMs . . . . . . . . . . . . 73
CHapter
6
pelvis anD Hips . . . . . 101
CHapter
7
leGs . . . . . . . . . . . . . . . . 125
CHapter
8
anKles anD Feet . . . . 145
CHapter
9
WHole-boDy traininG
For DanCers . . . . . . . . 169
Exercise Finder 191
About the Author 195
iii
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preFaCe
D
ance is an extraordinary display of physical skill that can convey both raw
energy and charming delight. Chiseled poses, innovative choreography,
and striking images are the hallmarks of the art form. As a dancer today, you
are truly fortunate. The opportunities to perform in competitions, Broadway
shows, and professional ballet companies readily exist if you are strong and
talented. Dance represents impeccable balance, intense muscular control,
grace, rhythm, and speed. What could be more exciting than to be chosen by
the artistic director to perform a leading role? But you must be mentally and
physically fit in order to compete in this high-performance market. The need
to impress audiences has never been more evident; extreme choreography
sells tickets and wins competitions.
Dance schools, studios, and academies are busy places. Classes, rehearsals,
performances, and competition schedules are overwhelming. You are working
harder than ever and doing your best to understand every correction given.
Your instructors are inundated with teaching technique, musicality, and tricky
choreography as well as marketing their business. Sometimes the details of
technique class can get overlooked. Dance technique has been passed down
over the years with very little anatomical analysis. This tradition might have
worked for generations, but in order for you to have an edge over other dancers today, you must understand basic anatomy and receive the most proficient
training.
Each combination at the barre and in the center must have a definitive
purpose. The barre work is not just a series of pliés and tendus but an organization of your body. Technique class should emphasize the development of
muscular strength to control and protect the joints. You need to understand
the actions of the muscle groups that create the various combinations of dance
positions. For example, the muscles that create extension of a joint must contract throughout the whole range. If you are not sure which muscles create
the extension, how can you possibly execute that combination effectively?
You will continue to overrecruit the wrong muscles, either building bulk or
causing an overuse injury.
Dance Anatomy will assist you in discovering more efficient ways of improving technique. You will enhance your movements by knowing exactly which
muscles contract to create the action. This book has more than 100 illustrations of exercises that give you a visual understanding of anatomy. You will
see inside every tendu, passé, and arabesque to help you improve your lines.
Each chapter addresses a key principle of movement to help you improve
performance. Chapter 1 is the foundation of the book; it highlights three
beautiful positions of dance showing the entire body and the musculature.
This chapter also emphasizes the importance of having a basic understanding
of how your body works through descriptions of anatomy, movement planes,
and muscular actions.
v
vi
preface
Chapters 2 through 8 have been organized moving through the body from
the center out. Chapter 2 addresses spinal alignment and placement—where
it all begins. The spinal curves and all movements of the spine are addressed.
Specific exercises are devoted to placement of the spine. The exercises in this
chapter are not meant to be challenging; they are meant to educate you on
muscular awareness and its role in supporting the spine for better alignment.
Chapter 3 focuses on the anatomy of breathing. It’s common for dancers
to breathe with the upper chest, creating tension and early fatigue. The illustrations show how the diaphragm, the lungs, and the ribs work together to
provide more oxygen to your body and improve stamina. The five exercises
in this chapter emphasize the details of breathing during various movements;
they are meant to encourage quality of upper-body movement and reduce
upper-body tension.
Chapter 4 details the role of the core musculature in dance movement and
presents exercises that develop strength in the core. The quadratus lumborum
and the iliopsoas also work together with the abdominal layers to provide stability for the spine. A basic dance class might not address all layers of abdominal
muscles and their importance in enhancing technique, so supplemental core
conditioning work is almost always necessary for dancers.
Chapter 5 details the musculature of the shoulders and arms; the exercises
will help you improve your port de bras and lifting skills. Chapter 6 focuses
on strengthening the pelvis for optimal hip rotation. The exercises in chapter
7 focus on elegance and power of the legs.
The majority of dance injuries occur at the ankles and feet, so chapter 8
emphasizes conditioning for the lower legs. There are 26 bones and 34 joints
in the foot, thus creating multiple movement possibilities. These small joints
are responsible for weight transfer, push-off, and landings. Without sufficient
strength in these joints, alignment and technique will be compromised. Chapter
8 has detailed exercises for strength, alignment, balance, and flexibility of the
lower legs, ankles, and feet.
Chapter 9 presents exercises that involve multiple areas of the body. In
addition to strengthening, these exercises promote your body’s ability to work
as a unit to accomplish your positions and movements.
To benefit from the exercises in this book, you must develop an effective
conditioning program that takes into consideration your changing cycles of
classes, practices, and times of layoff. This may be a whole new concept for
you, but the goals here are to limit the volume of ineffective training and
improve the quality of effective training. Planning a supplementary conditioning program to enhance your technique is discussed in chapter 1.
To progress as a dancer, you need to be organized and precise in the overall appearance of your movement. Your body must have definitive direction
within the space that you are using. The various imaginary planes mentioned
throughout Dance Anatomy can help you establish detail in your lines and
make the execution of the choreography clear and concise. If your movement
is clean, it will be more rhythmic and musical. Whether you are competing in
front of a panel of judges, performing on stage, or taking a technique class,
preface
vii
the judges, audiences, and instructors want to see power, clean lines, and a
musical precision.
This book will answer your questions about achieving better turnout, a
higher développé, a more flexible cambré, and a better arabesque. All of the
exercises provide instruction on proper breathing techniques, education on
recruiting the core muscles for improved placement, and important safety
tips. The lists of muscles in the exercises are accompanied by detailed illustrations that highlight the muscles in the dance positions. You can actually see
the relationship between the exercise and the dance position; this applies to
all forms and styles of dance.
The exercises in Dance Anatomy will help you put more practical thought
into your dance work without compromising the beauty of the art form. You
can use this text as a tool for understanding corrections and the mechanics
of your own body movements. You will benefit and continue the process of
refining your physique and improving technique for that moment when the
director picks you for the leading role!
aCKnoWleDGMents
F
or Bob and my beautiful daughters, who, through their love and patience,
teach me love and patience; for my beloved parents and one of my sisters
who will never see this book, I’m sorry it took me so long; and for my other
sweet sister, whose creativity and gentleness completes our family.
The dance medicine field has scores of talented health care professionals
devoted to research and continuing education just for dancers. Their wisdom
teaches me what I know today and what I will learn tomorrow.
We have different gifts according to the grace given us. If doing what you
love is a gift, then I am blessed with gifts. My sincere gratitude to the many
dancers I enjoyed working with during this process:
Adi Almeida, Ballet De Espana
Ally Garcia, McGing Irish Dancers
Andrea Lankester, North Carolina School of the Arts
Andrew Hubbard, Exhale Dance Tribe
Annie Honebrink, Otto M. Budig Academy of Cincinnati Ballet
Anthony Krutzkamp, Cincinnati Ballet
Bonita Brockert, National Dance Council of America
Calvin Thomas, Jr., Ballet Austin
Cervilio Miguel Amador, Cincinnati Ballet
Danielle Betscher, Just Off Broadway
Dawn Kelly, Cincinnati Ballet
Diamond Ancion, School for Creative and Performing Arts
Eugene Brockert, Dance, USA
Heather Walter, Wellington Orthopedics
Jill Marlow Krutzkamp, Cincinnati Ballet
Joseph Gatti, Ballet De Espana
Katie Chal, Louisville Ballet School
Kristi Capps, Cincinnati Ballet
Laura Tighe, McGing Irish Dancers
Marisa Gordon, Dance, Etc.
Zach Grubbs, Cincinnati Ballet
viii
the dancer in motion
a p t e
1
M
otion is defined as any physical movement or change in position. But,
when you watch a dancer in motion, it is much more than physical
changes in position. It is a vibrant visual art of brief images created by strength,
balance, and grace. The aesthetics of this art form can never be sacrificed by
scientific analysis. But learning basic movement principles will allow your body
to move effectively and safely. We use illustrations of three dance positions—
the jazz layout position, the attitude derrière position, and the split jump—to
demonstrate movement principles in this chapter. These are shown in figures
1.1, 1.2, and 1.3.
Figure 1.1
The jazz layout position.
E4776/Haas/fig.1.01/339196/alw-pulled/r2
Figure 1.2 The attitude derrière position.
1
E4776/Haas/fig.1.02/339200/alw-pulled/r1
r
C
h
2
Dance anatomy
Figure 1.3
The split jump.
Bones, Joints, and Skeletal Muscles
E4776/Haas/fig.1.03/339195/alw-pulled/r1
To understand movement, you need to have a basic understanding of bones,
joints, and muscles. They are the building blocks that provide you with the
ability to create human motion. Your body is an amazing evolving gift of energy
and information. Knowing how to organize the building blocks will give you
fresh energy and enhance your skills as a dancer.
Bones
You have 206 bones in your body; they provide support and serve as levers
for your muscles. Some bones provide protection for your internal organs,
and some bones are responsible for producing red blood cells. You have long
bones, short bones, and flat bones throughout your body that play a role in
movement.
Movement operation involves the use of leverage. A lever is a rigid bar
that moves a fixed point when effort, or force, is applied to it. The effort
is used to move a resistance, or load. So, in your body, your joints are the
fixed point, the bones are the levers, and the effort is the muscle contraction. For example, look at figure 1.1 of the jazz layout position. Focus on
the gesture leg: The hip joint is the fixed point, the hip flexors are the effort
by their contraction, and the femur (thigh bone) is the lever. Your muscles
are attached to the bones by tendons, and the bones attach to each other
by way of strong ligaments.
Joints
Joints are where two bones meet. You need to be familiar with several types
of joints, but ball-and-socket, hinge, and gliding joints are the main types discussed in this text. All movement occurring at the joints have specific names,
most working in pairs. The pairings typically describe movement in the same
plane but work in opposite directions. For example, flexion at the knee would
the Dancer in motion
3
represent bending of the knee; extension at the knee would represent straightening of the knee (table 1.1).
The hip and shoulder joints are described as ball-and-socket joints. One
end of the bone is rounded, and the end of its meeting bone is cup shaped.
In the hip, for example, this is important information for improving turnout
and développé; we explore this concept further in chapter 6. The hip joint has
a deeper cup than the shallow shoulder joint. Look closely at figure 1.2—the
standing (supporting) leg’s hip joint shows how the femoral head fits into the
acetabulum. Visualize how movement occurs at this joint; it has rotational
action as well as flexion and extension.
Gliding joints are made up of bones in which both ends are relatively flat;
they allow for very little movement. For example, the point where each rib
meets the spinal vertebrae is a gliding joint, as in figure 1.3. Notice how there
can be very little movement where the vertebrae and the ribs meet. This is
significant for understanding the lack of good flexibility throughout the midspine (thoracic) region, which is covered more in chapter 2.
A hinge joint is a bone with a slight concave end meeting a bone with a
convex end. The knee would be described as a hinge joint. When the knee
flexes and extends, it allows movement primarily in one plane. As you will learn
later in this text, the knee does have a slight rotational movement as well. But
focus on figure 1.1—the supporting leg is showing flexion of the knee while
the gesture leg is showing extension of the knee.
Table 1.1 Joint Movements
Action
Movement
Example
Flexion
Bending, folding of a joint
Hip flexion: front of hip bends
with grande battement devant
Extension
Straightening of a joint
Elbow straightens when in a
push-up position
Abduction
Moving away from center
Arms in à la seconde: moving
from alongside the body to
second position
Adduction
Moving toward center
Assemblé: legs coming together
External rotation
Rotating outward
Turnout: grande plié in second
position
Internal rotation
Rotating inward
Shoulder joint internally rotates
to place the hand on the hip
Plantar flexion
Pointing the foot
Relevé, en pointe
Dorsiflexion
Flexing the foot
Rocking back on heels, lifting
forefoot
4
Dance anatomy
Skeletal Muscles
Skeletal muscles initiate skeletal movement; they are composed of connective
tissue partitions containing muscle cells, fibers, and numerous nerves. When
the nerves are stimulated by your brain, a chemical reaction occurs, causing
the muscle to contract. Each muscle has an origination point on a bone and an
insertion point on a bone. Basically, on contraction, the muscle fibers shorten
and have a tendency to pull both ends into the middle.
How muscles react to stimuli depends on their characteristics. There are
basically two types of fibers in each muscle: slow twitch, or type I, and fast
twitch, or type II. Slow-twitch fibers contract slowly and have a high resistance
to fatigue. They are used primarily for placement and posture as well as aerobic
activities. The fast-twitch fibers contract quicker and have a low resistance to
fatigue. They can produce more power than slow-twitch fibers. Petit allegro,
or short anaerobic movements, use primarily fast-twitch fibers. Most ballet
dancers have a higher percentage of slow-twitch fibers, while dancers who
have a more muscular or bulky look will have a higher percentage of fast-twitch
fibers. No matter what your dance intensity level is, the slow-twitch fibers will
be recruited first, followed by fast-twitch fibers.
All of your muscles have the capability of contracting, or creating tension,
in various ways. Dynamic contraction is described as any type of tension on a
muscle where the length of the muscle changes. This would certainly create
movement at the joint. The two types of dynamic contractions are concentric
and eccentric. Concentric contraction is typically a shortening of a muscle to
create the movement, and eccentric contractions involve lengthening of the
muscle. During pointe tendu, as the leg moves away from your center and your
foot points, the calf muscles shorten, creating a concentric contraction. As your
foot returns to the starting position, the calf muscles begin to lengthen. During
that return phase, the calf muscles work eccentrically. The significance of this
comes into play especially when landing from jumps. The eccentric contraction
of the muscles will help to decelerate your body against gravity on landing.
While you work so hard to build strength and power to jump higher, you also
need to work on control to reduce the risk of injury and to make your return
phase smooth and coordinated.
Another type of contraction that creates tension on the muscle but does not
change the length is an isometric (also called static) contraction. An isometric
contraction means equal length—the muscle fires, creating tension, but there
is no joint movement. So, as you execute a relevé in first position and hold, the
hold phase is an isometric contraction of all of the muscles in the legs. They
contract concentrically to elevate you and then hold isometrically.
As your muscles contract to produce movement, various muscles work
together to achieve the goal. All dance movements are carefully controlled
because the muscles work so well together. Skeletal muscles are divided into
four distinct categories: agonists, antagonists, synergists, and stabilizers.
• Agonists. The muscles that contract to produce the movement are the
movers, or agonists. The ones that are the most effective in making that move-
the Dancer in motion
5
ment happen are the primary movers. For example, the action of pointing
your foot is created by the gastrocnemius and soleus muscles as the primary
movers, but other muscles, called the secondary movers, assist.
• Antagonists. The muscles that oppose the primary movers are called
antagonists. They somewhat relax and lengthen while the prime movers are
working, but other times they can contract with the prime movers and provide
a cocontraction. Now, as you might imagine, the agonists and the antagonists
are located opposite of each other. Look at figure 1.2, and focus on the gesture
leg in attitude derrière. The agonists are the hamstring and gluteal muscles
that activate to move the leg to the back into hip extension. The antagonists
are the hip flexors, or the muscles along the front of the hip and thigh. They
are on a stretch while the movers contract. Now, imagine a grande plié in
second position. As you are coming up, the quadriceps (agonists) are working
to straighten the knee, but the hamstrings (antagonists) can contract as well,
providing a cocontraction and better support for your knee joint.
• Synergists. Synergist muscles can be confusing, so let’s break things down.
Muscles that are considered synergists have two functions: They can promote
the movement or they can neutralize the movement. What is so important for
you to know is that the synergist muscles fire to help you define your movement. They can counteract any unwanted directional force. So, in figure 1.2,
focus on the right arm. When you forcefully lift your arm by flexing at the
shoulder joint, what helps to keep the humerus (upper arm) bone from separating away from the scapula (shoulder blade)? A small muscle hidden under
the pectoralis major called the coracobrachialis displays synergistic qualities by
contracting to assist in controlling the movement of the humerus in relation
to the scapula. Although the primary movers get all the credit, the synergists
help the agonists with establishing smooth and coordinated movement.
• Stabilizers. Muscles that are able to fixate a joint are called stabilizers.
This is important and will be reviewed repeatedly throughout this book and
its exercises. Stabilizers serve as anchors; they are able to hold a joint firm in
order for other movement to occur. In figure 1.2, what is holding the spine
stable? The abdominals are contracting to stabilize the spine; without that
contraction, the momentum and strength of the gesture leg moving backward
would cause the spine to collapse. You are working so hard on the leg that is
creating most of the movement that you forget about the importance of the
muscles that create stability and hold you firm in order for that movement
to occur.
Movement Planes
Motion means changes in position; motion is created by force. For you, the
coordinated efforts of body and mind create the force. So, let’s begin by focusing on the efforts of your body and become familiar with some anatomical positions that are used in the text. When a muscle contracts, it produces movement
at the joint, and the joint is the connector between the bones—easy enough,
right? Dance moves you in all different directions, patterns, and shapes.
6
Dance anatomy
Sagittal
plane
Transverse plane
Frontal plane
Figure 1.4
The three planes of movement.
E4776/Haas/fig.1.04/339193/alw-pulled/r3
Figure 1.5
Standard anatomical position.
E4776/Haas/fig.1.05/339194/alw-pulled/r1
You can better understand these
movements by dividing the body into
three imaginary planes: frontal (vertical), sagittal, and transverse (horizontal), which will be described soon.
Learning challenging choreography
and executing the movement with
beautiful lines come from a better
understanding of how your body
moves in space. Look at figure 1.4
showing these three planes within
your body. These planes correspond
to three dimensions in space.
Now, because you can change
your orientation within space and
your arms and legs can change
position, it’s important to organize
positional directions of movement
and refer to your body in a standard
anatomical position, as in figure 1.5.
That position is facing front, feet
comfortably parallel, arms by your
sides, and the palms of your hands
rotated to face front. From this position, all directional body movements
can begin from a starting point and
all anatomical terminology has a
starting point (table 1.2).
the Dancer in motion
Table 1.2
7
Anatomical Position and Directional Terminology
Term
Definition
PosiTionAl TErMinology
Anatomical position
Standing with feet and palms facing front
Supine
Lying on the back
Prone
Lying facedown
DirEcTionAl TErMinology
Superior
Above or toward head
Inferior
Below or toward feet
Anterior
Front side or in front of
Posterior
Back side or in back of
Medial
Closer to the median plane or toward midline
Lateral
Farther from the median plane or toward side
Proximal
Closer to root of limb, trunk, or center of body
Distal
Farther from root of limb, trunk, or center of body
Superficial
Closer to or on surface of body
Deep
Farther from surface of body
Palmar
Anterior aspect of hand in anatomical position
Dorsal (for hands or
feet)
Posterior aspect of hand in anatomical position; top
aspect of foot when standing in anatomical position
Plantar
Bottom aspect of foot when standing in anatomical position
Reprinted, by permission, from K. Clippinger, 2007, Dance anatomy and kinesiology (Champaign, IL: Human Kinetics), 18.
Now, continue to visualize your standard anatomical position with
various imaginary planes within yourself. You are divided into upper
and lower halves by a transverse plane, equal right and left portions by
a sagittal plane, and front and back portions by a frontal plane. So, for
example, when moving your arms from en bas through first to high fifth
position, you are moving within your sagittal plane. That movement
has a purpose—it’s working within an imaginary plane to high fifth efficiently, with no deviation and with no incorporation of other movement.
When you cambré to the side, you are moving in the frontal plane, moving
directly to the side without any other inefficient movement, as if you are side
bending along an imaginary pane of glass. In various hip-hop movements, the
hips rotate in and out—that movement describes each hip moving along the
transverse plane. The same would apply when twisting from the waist: Your
trunk moves along the transverse plane. Look at figure 1.3, the split jump.
8
Dance anatomy
In which plane are the legs moving? The frontal plane. If one leg were slightly
more forward, the movement would not produce the clean line that you strive
for. You would need to continue to repeat that split jump until you got it correct. The repetition and overrehearsing due to lack of understanding of where
the legs should be could lead to an overuse injury.
Mindful Connections
Your mind plays an intense role in dance anatomy and improvement in technique. Imagining moving faster or lifting your legs higher is part of being a
dancer in motion as well as understanding primary muscle movement. Visualization can also be a tool for helping you dance more effectively. How many times
do you practice the act of développé? How many times do you feel gripping in
the thigh and anxiety because you are unable to raise the leg higher? Imagine
what it would be like to know which muscles need to contract, lengthen, and
stabilize without gripping. Imagine your leg elevating higher without anxiety.
This is using your mind along with physical ability.
Visualization
Visualization, imagery, and mental simulation are terms used to describe
creating a picture in your mind without doing the physical activity. There are
many kinds of imagery, but for this text let’s focus on basic visualization skills
to improve performance. You can use simple positive images and focus on
maintaining a calm center to release unwanted tension. Visualize exactly what
you want your body to do and keep your thoughts positive. Eric Franklin is
a master at visualization; I love his term seed imagery—planting an intuitive
thought and letting that image grow to increase performance. When you
repeatedly train your actions (as you do in class and rehearsal), you induce
physiological changes and increase accuracy. Take a little time every day to
find a quiet spot, close your eyes, and just listen to yourself breathe. Now,
imagine the dancer you want to be, and see yourself moving with ease. Focus
on how clean your lines are. Continue to visualize how much control you have
with every combination you perform. You can see it in your mind, you can
hear the music playing, and you can feel your body executing the sequences
with detail. Now, all you have to do is do it! Let everything else go, and focus
on your technique. You are training the relationship between your mind and
your muscles. They must work together to help you reach your goals.
Tension Relief
Your state of mind will definitely influence the outcome of your work. If you
prepare for a pirouette with tension in the upper body, stress about having to
execute two, and anxiety about losing your balance, how on earth can you
turn? Visualize beautiful multiple turns around a firm but calm center and
breathe! Dance your way into the pirouette, enjoy turning, release the fear,
use rhythm to help you, and turn!
Research continues to look at the proven connection between stress and
injury. You seek perfection and you push yourself beyond your limits. Dance,
the Dancer in motion
9
like any other sport, requires intense levels of training and conditioning to
maintain the highest level of physical performance. When you allow competition anxiety or fear of failure to overwhelm your mind, you lose the ability to
cope, and you put yourself at risk of getting hurt. When you can’t maintain
motivation, you create disruptions in attention, lose momentary awareness,
and put yourself at risk for an acute injury. All of these stressors can also lead
to hesitation, weakness in balance skills, and unwanted muscle tension.
The best dancers keep a healthy, positive conversation going within
themselves to create motivation and encouragement. This inner dialogue
can reduce tension and create an ease in your movement. Remember, you
are building a healthy connection between mind and body. Accept yourself
and love dancing—it’s that easy! Be firm and tell yourself that it’s possible.
Unfortunately, you might be full of criticism and doubt; if you love to dance
and want to improve, you must stop the negativity and dissatisfaction with
yourself. Stay away from telling yourself you cannot do something or that
some movement is too hard.
Dance-Focused Exercise
There is a distinct relationship between each exercise and the illustrations in
these chapters. Throughout the exercises, visualize ease and balance in your
neck as well as stability throughout your center, and allow those skills to carry
over in your technique. For example, when performing the exercises for your
legs, visualize ample joint mobility, not tension, in your hips. Remember to
keep the images positive and brief. After practicing visualization skills during
the exercises, send those brief images through your mind before classes,
rehearsals, and performances. Notice how your skills improve; notice how
you work more effectively with less gripping in your muscles. Keep using
positive visualization skills. They are exercises of the mind and they require
practice. Don’t let negative thoughts creep back in and ruin your technique.
Each chapter has a section called Dance-Focused Exercise guiding you on
applying these skills to the exercises in that chapter.
Cardiorespiratory Benefits
Although dance-specific exercises are the focus of this book, the benefits
of cardiorespiratory fitness cannot be overlooked. More and more medical
research on dance documents that dancers’ cardiorespiratory capacities are
similar to the capacities of other athletes in nonendurance sports. Rehearsals
and performances last for only brief periods; this type of exercise is referred to
as anaerobic training. Aerobic training is required for improving cardiorespiratory health because it improves blood circulation and the supply of oxygen to
the cells. Aerobic training increases heart size, which allows a larger volume
of blood to be pumped through the body. Cardiorespiratory fitness allows
for better transportation of oxygen and an increase in endurance levels. High
cardiorespiratory endurance reduces physical and mental fatigue, which can
also lead to injury. You can improve your cardiorespiratory endurance by
training on an elliptical machine, treadmill, or stationary bike or swimming
three or four times a week.
10
Dance anatomy
Conditioning Principles
You should be familiar with some principles in order to define and enhance
your conditioning plan. Not only are you improving muscular strength, but
you are also increasing strength in the tendons and ligaments.
• Principle of overload. If you want to increase strength, you must continue
to work the targeted muscle group past your normal load. The exercises are
executed at maximal contraction throughout the entire range of motion. Typically, this type of training uses fewer repetitions and more resistance, and it
works your muscles to fatigue.
• Principle of reversibility. This refers to the fast loss of strength when
the conditioning stops. In order to maintain your fitness level, continue with
dance-specific conditioning at least four times a week if you are not dancing because of a layoff or holiday break. (Conditioning takes the form of the
exercises presented in this book.)
• Principle of specificity. This relates to conditioning the dance-specific
muscles that you need for improving your technique. In order for conditioning
to be effective for dance, you must target and engage the muscles needed for
dance as if your exercises were a dance!
• Alignment. All repetitions must be repeated without sacrificing alignment,
core control, or proper breathing. Your goal is to work effectively. If you feel
your alignment beginning to falter, stop, reorganize, and then start again. As
you perform each exercise, emphasize the main muscle movement but notice
how it affects your entire body.
• Warm-up and cool-down. Each conditioning session should begin with a
basic warm-up to increase blood flow, accelerate your breathing, and slightly
raise body temperature. The exercises will be more effective if you are warmed
up. Take 10 minutes to include the exercises from chapter 2 to get centered
and then add some low-level jogging in place. A sufficient cool-down after
conditioning allows the body to return to its resting state. This can be approximately 10 minutes and can include the breathing exercises from chapter 3. You
can also include some gentle stretching, which will reduce muscle soreness.
Each exercise has a specific goal, but all exercises require control through
the full range of the movement. Avoid initiating the movement with your
momentum and then allowing gravity or loss of awareness to finish the movement. Begin each exercise with slow, precise control and maintain that control
through the exercise.
Your warm-up, cool-down, and exercise program should take approximately
50 minutes. Each chapter allows you to work with specific muscle groups to
enhance the intensity and deepen your awareness. Keep your mind focused
on safe skeletal alignment, which is emphasized throughout this book.
Agreeing on a conditioning program with specific durations, repetitions,
sets, and intensities is next to impossible because opinions vary among the
experts. For the purpose of this text, repeat each exercise 10 to 12 times for
the Dancer in motion
11
three sets, unless otherwise stated. But, this may require some practice to
determine your personal needs. If you are trying to build strength, you must
execute maximal muscle contraction through the entire range of motion and
overload the muscle in a progressive manner. Some of the exercises in this
book use resistance bands or small weights for progressive resistance, but the
goal is to maintain excellent alignment. You can slowly add resistance when
the alignment is secure and the exercise is no longer challenging. Quality of
movement is the emphasis.
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Spine
a p t e
2
Y
our spine is able to create multidirectional movement that gives you the
ability to execute various dance styles with fluidity and ease. Your spine
can portray a resilient elastic look that might be needed for various contemporary combinations, or it can have a rigid and more stable, but elegant, look
for partnering skills. Ballet posture may call for your spine to be strong but
display a majestic and lifted look. It all depends on placement, balance, and
organization of the muscle contractions. To improve body placement, you
need a healthy balance of muscle action to support proper alignment of your
spine. This chapter introduces muscles associated with optimal placement of
the spine. Dance can put an enormous amount of stress on your back, especially in the segments that have the most mobility. Learning to use the entire
spine and balance stability and flexibility can improve your performance skills
and reduce your risk of injury.
Your axial skeleton is made up of the skull, spinal column, ribs, and sacrum.
In anatomy, axial refers to anatomical direction; in the skeletal system it refers
to your bones being aligned vertically along a longitudinal axis. What you need
to remember is to move against the resistance of gravity, meaning that you
need to create length, or axial elongation, within your spine while incorporating stability around the spine for placement and support.
Spinal Column
Your spine is a column of 33 strong bones called vertebrae that connect the
skull, shoulders, ribs, hips, and legs; it is the center of your skeleton. The vertebrae also surround and protect the spinal cord, which transmits the impulses
that control all voluntary and involuntary movements. The vertebrae are
connected by small, fluid-filled sacks of tough, fibrous cartilage called discs,
which allow for vertebral support as well as a small amount of cushioning.
The discs help to absorb shock, especially when you perform jumping and
lifting movements. The combined movement between all of the vertebrae
creates the flexibility through the spine as a whole. While a large cambré
(back-bend) type movement can be gorgeous, the tendency is to overextend
in the neck and the lower back without trying to incorporate any effective
movement through the thoracic spine (midback). Transmitting forces equally
will allow the entire spine to work for you. Using only the neck or lower back
will cause added physical stress in those specific areas and eventually tighten
and weaken the rest of the spine. This is particularly significant in the lower
back; if forces like gravity and compression are transmitted only through the
13
r
C
h
14
Dance anatomy
lower spine, then you overwork that portion of your spine, putting yourself
at serious risk for fractures, soft tissue damage, and disc degeneration.
The vertebrae cannot stand upright alone; they are supported by an elaborate system of ligaments. The major connecting ligaments are the anterior and
posterior longitudinal ligaments. These ligaments are continuous bands that
run down the front and back of the spine. Basically, all vertebrae have common
structural patterns: a body, the vertebral foramen, a spinous process, and two
transverse processes (figure 2.1). The body area of the vertebrae bears the
weight of the body above it, the foramen creates the space for the spinal cord,
and the processes are sites for various muscle and ligament attachments. The
point at which each process meets the next process creates a gliding joint called
a facet. At these small joints the vertebral processes are flat and each surface
must slide smoothly against the other when you twist or bend. Injury to these
small facet joints is usually produced by repetitive, uncontrolled movements
that create asymmetry. When these small joints do not glide smoothly, your
movement becomes limited and rigid. This causes pain and eventual compensations. While executing the upcoming exercises, visualize this smooth sliding
effect between all vertebrae and incorporate it with control.
Vertebral
foramen
Superior
costal facet
Facet joint
Intervertebral
disc
Vertebral
body
Facet joint
Superior
articular
process
Transverse
process
Facet joint
Inferior
articular
process
Spinous
process
E4776/Haas/Fig.2.1/339209/JenG/R1
Figure 2.1
The structure of the vertebrae.
spine
15
Spinal Regions
Your spine has three main sections: the cervical area, the thoracic area, and the
lumbar spine and sacrum. Take a moment to notice all of the regions in the
spine in figure 2.2 and how the vertebrae stack up so neatly. Excellent spinal
health is dependent on maintaining the gentle, natural curves designed for
balance and postural stability.
Cervical spine
Thoracic spine
Lumbar spine
Sacral spine
Figure 2.2 The three regions
of the spine: cervical, thoracic, and lumbar
E4776/Haas/Fig.2.2/339210/JenG/R2
and sacral regions.
Cervical Spine
The neck, or cervical spine, has seven vertebrae, along with ligaments, tendons,
and muscles. It supports your head, which can weigh approximately 14 pounds
(about 6 kg). The cervical vertebrae are labeled as C1 through C7. The neck
area is relatively flexible and fragile because the vertebrae are slightly smaller
than other vertebrae. The first two vertebrae are quite interesting. C1 is called
the atlas (Atlas supporting the heavens from Greek mythology); it is literally a
bony ring that is responsible for carrying the skull. C2 is called the axis; it has
a small, bony projection that rises into the ring of C1, thus creating a pivot
for rotation to occur between the atlas and axis. This creates movement for
nodding and rotating the head. Physical tension throughout the cervical spine
can limit efficient movement for spotting during turning. Think about your head
being centered and balanced on top of C1 and C2. If your head is balanced,
16
Dance anatomy
the neck muscles that control the movement can work with ease. Any time
your head moves outside of this balanced state, the opposing muscles of that
movement are responsible for overworking to try to maintain alignment. Head
placement is an important addition to the aesthetics of all upper-body poses
and choreography.
Thoracic Spine
As you continue down the spine, the size of the vertebrae increases. The
thoracic spine contains 12 large vertebrae, T1 through T12. The ribs have
attachments along the sides of the vertebrae in this region. The increasing
size of the vertebrae with the added attachments of the ribs creates the lack
of flexibility and mobility in this area, notably called the thoracic cage or rib
cage. The principle of executing movement along the entire spine will continue
to create mobility throughout the thoracic region. All of the exercises in this
chapter are designed for you to focus on axial elongation in all movement
planes, moving in the longest possible arc.
Lumbar Spine and Sacrum
Your lumbar, or lower-back, region has five vertebrae (L1 to L5) and is a
more flexible area in comparison to the thoracic region. This region takes on
the most stress. It is important to remember that the lower segments of the
spinal column have the ability to move more in extension than rotation, which
can create a shear force—meaning the vertebrae can slide in an anterior and
posterior pattern, creating an unnecessary excessive sliding or shearing-type
motion. This unsupported movement can eventually wear down the discs
and cause weakness in the ligaments, significantly increasing your risk of
lower-back injury. Basic spine education, awareness of body placement, and
the ability to apply abdominal strengthening work to your spinal movements
will reduce the risk of lower-back injuries.
There is also greater movement between the last vertebra and the sacrum.
The sacrum is triangular in shape and is composed of five fused vertebrae (S1
to S5). It takes on the load of the upper body, transferring it to the pelvic girdle.
Knowing that the lower spine has more flexibility in extension and takes on
more of the load, you must understand the benefits of core and lower-back
strengthening to improve your body placement and reduce the risk of injury.
We introduce the importance of the core musculature in the upcoming Neutral
Spine section, but we will discuss this principle in more detail in chapter 4.
Muscular Balance
This section introduces the muscles that play a role in correct placement of the
spine, and we continue to elaborate on them throughout the rest of the text.
The primary muscles along the front of the spine are the rectus abdominis,
which runs from ribs 2 to 5 to the pubic bone, and the internal and external
obliques, which also connect your ribs to your pelvis. The deepest of the
abdominals is the transversus abdominis, which is primarily a postural muscle
and very important for spinal stability. The deep transversus abdominis con-
spine
17
nects the lower ribs 7 through 12 with the pelvis; its fibers run horizontally.
Another muscle associated with spinal placement is the iliopsoas muscle;
it has a direct connection with your lower spine, pelvis, and femur (thigh)
bone. Weakness or tightness of the iliopsoas can create instability in the lower
region of your spine. (This muscle will be discussed further in chapter 6.) The
hip flexor isometrics exercise on page 26 helps you locate and contract this
muscle without causing instability in your lower back.
The posterior aspect of the spine is supported by the sacrospinalis (also
known as erector spinae) and the deeper multifidi muscles, which run from the
pelvis to the base of the skull. The deep multifidi muscles are also extremely
important for improving body placement—on contraction they provide trunk
control and spinal stability by providing gentle compression along the spine.
At this point, we introduce the pelvic floor of the body, which provides a
strong base of support for the lower spine and pelvis. While more discussion
on this follows in chapter 3, note that the pelvic floor attaches at the base
of the pelvis and sacrum, which is located at the bottom of your spine. The
ischial squeeze exercise on page 30 educates you on engaging these muscles
and using them for improved placement.
Along the sides of the trunk are the quadratus lumborum muscles running from the last rib to the iliac rim and the lower spine along its way. This
muscle helps you side bend and extend your lower back, but when it is tight
it can elevate the pelvis or cause hip hike, especially with high kicking-type
movements. A healthy balance of strength and flexibility along all sides of the
spine provides the needed support for attaining well-aligned body placement.
Neutral Spine
Your spine is capable of flexion, extension, side bending, rotation, and various combinations of all of these movements, thus giving you the ability to
perform any type of choreography. Four curves within the sagittal plane play
a significant role in body placement (figure 2.3). In the cervical and lumbar
areas, the curve is concave (it moves in a forward motion), whereas the
thoracic and sacral curves are convex (they move in the opposite direction).
Your intervertebral discs cushion your vertebrae within these curves. Changing the curves as a base for your placement causes undue stress on the discs
and unnecessary muscle activity to maintain this misalignment.
Excellent body placement skills come from creating strength and stability
along the spine while keeping the natural curves intact. This is known as
neutral posture, neutral spine, or neutral pelvis. Dancing with axial elongation while maintaining the natural, neutral curves creates less stress on the
discs and vertebrae. You know that challenging choreography requires you
to move your spine in all directions and combinations of all directions, but a
strong dancer can control the spine through the challenging movements. The
locating neutral exercise on page 20 is focused on assisting you in locating
the natural neutral pelvis position.
In looking at your body from the side, you should be able to draw an
imaginary line from the middle of the ear down to the lateral malleolus, or
18
Dance anatomy
Cervical
curve
Thoracic
curve
Lumbar
curve
Sacral
curve
Figure 2.3
E4776/Haas/Fig.2.03/339211/Milner
R2 plumb line.
The
four curves of the spine and the
ankle bone, without any deviation. This is called a plumb line (figure 2.3). As
the plumb line passes down, it would move through the center of the shoulder, through the center of the greater trochanter at the hip, and down to the
knee. From there, the plumb line would continue to the lateral malleolus,
again with no deviations. You should also be able to secure this alignment
with the legs parallel or turned out.
Unfortunately, some dancers have difficulty maintaining a neutral or natural
position of the lower back. The lumbar spine might slightly extend, creating lordosis (an excessive curve in extension). There are various reasons for
lumbar lordosis. One is abdominal weakness, which leaves the lower spine
unsupported, causing the lower back to arch. Another reason could be that
the posterior spinal muscles are tight and short, which pulls the lower spine
into an arched position. Or the iliopsoas muscles are tight and short, which
also pulls the lumbar spine into this lordotic position.
spine
19
Dance-Focused Exercise
While executing the following series of exercises, remember to work with
axial elongation. It is important to let the cervical spine be an extension of
the thoracic spine. For example, the exercises that involve flexion of the
spine should allow the cervical spine to finish the arch that the midback has
initiated. Look at trunk curl isometrics on page 24. There should not be an
excessive bend in the neck to try to force the upper back to move more. The
same principle of axial elongation comes into play when the spine is required
to move into extension. The neck should be a beautiful continuation of the
arch that the midspine is creating.
Now, take a look at the neutral spine model and notice how the spine
stacks up; be aware of your alignment. The gentle curves of the spine are
intact and supported. The head balances on top of the cervical spine with
ease. Notice the balance between the muscles along the front and back of
the spine. Think about how the deep multifidi gently compress your spine to
give support. The quadratus lumborum situated on both sides of the lower
spine keeps a healthy balance between the ribs and the pelvis. If you can
visualize the iliopsoas connecting the lower spine to the thighs and the pelvic
floor activating to stabilize the base of the spine, you have begun to develop
improved placement. By incorporating balance, you actually will need less
overall muscle action and have created an excellent workplace in which your
spine can function.
Locating Neutral
Erector
spinae
Rectus
abdominis
External
oblique
Iliopsoas
Internal
oblique
Gluteus
maximus
Start
position.
Anteriorpelvictilt.
posteriorpelvictilt.
E4776/Haas/Fig.2.04b/339215/Milner/R3 E4776/Haas/Fig.2.04a/339213/Milner/R2
Execution
1. Begin by standing with legs and arms in first position. Create a lifted
quality through your spine; gently engage the low abdomen and visualize the plumb line.
2. As you inhale, lift the ribs, release your abdominals, and gently rock
the front of your pelvis forward, arching the lower back and moving
into an anterior tilt. Notice the tightness in the upper and lower back
and the looseness in your abdominals.
20
3. As you begin to exhale, reverse the tilt and tighten through the
abdominals; try to flatten the lower back and engage the gluteus
maximus. Notice how the front of the hips tightens and how the front
of your chest drops.
4. Now return to a neutral position, visualizing the plumb line and gently
lifting through your waist. There is balance between the abdominals
and the spinal muscles and a renewed lengthened feeling in the spine.
5. Now, as you inhale, move into your anterior pelvic tilt. As you exhale,
move into your neutral position. Emphasize abdominal contraction
and the external obliques to move into neutral. Repeat this 10 to 12
times.
Muscles Involved
Anterior pelvic tilt: Iliopsoas, erector spinae
Posterior pelvic tilt: Rectus abdominis, internal oblique, external oblique,
gluteus maximus
Dance Focus
Let this exercise help you work
through your center and notice
the changes that occur along
your spine. In knowing that the
lower portion of your spine has
more flexibility, you must be
aware of activating the abdominal muscles to have control of
your pelvis and spine in a more
natural, neutral position. Instructors can look for the anterior iliac
bones and pubic bone aligned
along the frontal plane and know
that every dancer has different
natural curves along the spine;
the contraction of the abdominals helps to maintain and support the curves. Visualize how
the external oblique musculature
connects the ribs and the pelvis.
Keep that connection working
when your leg needs to move
to the back—this will help to keep your pelvis and lower back from overexE4776/Haas/Fig.2.04d/339214/Milner/R3
tending. All styles require three-dimensional
hip and pelvic movement, but
control of those movements is one of the keys to technical improvement.
21
Leg Glide
Transversus
abdominis
Execution
External
oblique
Multifidi
E4776/Haas/Fig.2.5a/339349/Milner/R4
1. Lie on your back with arms in first position. (Note: In the illustration,
the arms are placed in a position to make viewing the abdominals
more visible.) Locate your neutral pelvic alignment and bring one
leg at a time to 90-degree hip flexion and 90-degree knee flexion
(90/90). Align your knees with your hips.
2. Inhale to prepare. As you breathe out, deepen the abdominal contraction and let one leg glide away from you at approximately 60 degrees.
Allow your knee to fully extend. Focus on anchoring your abdominals
to your lower back and allow no movement of the pelvis. Feel the
deep transversus abdominis and external obliques firing to help stabilize your pelvis.
3. Inhale to bring the leg back to your starting position. Repeat the
sequence with the other leg. As you exhale, focus on flattening your
abdomen to anchor your pelvis; reemphasize deep abdominal contraction, not the hip flexors. Practice this 10 to 12 times on each leg.
4. As your leg moves away from your center to extend the knee, notice
the movement of your legs occurring along your sagittal plane and
actively increase the abdominal contraction to resist pelvic movement.
SafetY tip Maintain stability in your lower back. If you find
that it is too difficult to hold your lower back in a stable neutral
position, do not take the legs as low; try it again with the legs
extending higher. You may lower the legs when your back is
stable.
22
Muscles Involved
Transversus abdominis, external oblique, multifidi
Dance Focus
This exercise emphasizes the point that it is
not about how many abdominal exercises
you can perform; it’s about using the strength
of the abdomen to improve your technique.
Irish dance requires intense trunk control
in a neutral position in order to maintain a
stable position. Focus on the deep transversus
abdominis along with the deep multifidi to give
you double support. This is a cocontraction,
the anchor you need before all arm and leg
motion. Remind yourself that only your legs
are moving, not your pelvis or your spine! That
same principle applies to jumping combinations.
Visualize your navel moving toward your spine
for added support; put your energy into your
abdominal muscles, not tension into your neck
and shoulders. Take a moment to practice a
few small jumps in place. Feel the core muscles
bracing your spine, and feel the external
obliques working to connect your ribs and your
pelvis. Relax and enjoy the ride! For teachers,
this is a tool to help students move from their
centers with less stress to their spines. Instructors
must be able to feel it, explain it, and teach it.
Va r I at I o n
E4776/Haas/Fig.4.04b/339350/Milner/R1
Rotated Leg Glide
1. Begin with your legs at 90/90, and turn out both thighs.
2. On exhalation, again deepen the abdominal contraction and lower
one leg to approximately 60 degrees as you extend your knee.
Maintain turnout and reemphasize leg movement only, not pelvis
or spinal movement.
3. Inhale on the return, and
focus on deepening the
abdominal contraction
while maintaining hip turnout. Repeat this exercise 10
to 12 times on each leg.
E4776/Haas/Fig.4.04c/339351/Milner/R1
23
trunk Curl isometrics
Rectus
abdominis
Rectus
abdominis
Execution
E4776/Haas/Fig.02.06a/339217/Milner/R4
1. Lie on your back with knees bent and feet flat on the floor and arms
by your sides. Inhale on the preparation and exhale as you engage
the rectus abdominis to curl your trunk until the bottom edges of the
shoulder blades lift off the floor. Gently glide the chin toward your
Adam’s apple, and allow your arms to reach for the backs of your
thighs.
2. Place your hands behind your thighs and hold an isometric contraction. Emphasize moving the entire thoracic spine into a curl, and allow
the spinal muscles to support that curling effect. Keep the sacrum firm
on the floor; do not use the hip flexors.
3. Hold this position and feel the strength of the abdomen. With control,
breathe in and slowly return to the floor, emphasizing the eccentric
contraction of the rectus abdominis. Move along your sagittal plane,
curling as much as possible through your upper back on the way up
and uncurling on the way down. Work with control. Count to 4 for
each action; repeat 10 to 12 times.
24
SafetY tip as you execute your abdominal contraction, allow
your neck to be an extension of your spine. try to avoid extreme
flexion in your neck.
Muscles Involved
Rectus abdominis
Dance Focus
When thinking about using the
rectus abdominis, rely not only on
the look that this muscle provides
you (six-pack abs) but also its
responsibilities. You know that
this muscle flexes your trunk, so it
also can help with added mobility
in your stiff thoracic spine. If you
are executing a contraction in
modern dance, visualize how the
rectus abdominis connects your
ribs to your pubic bone; maintain
that visualization as the muscle
creating a concentric contraction
to curl your spine. As you extend
your spine by performing a
cambré back or an arabesque, it
engages eccentrically to support
and provide a lifting effect for
your spine, which will enhance
your movements. Using the rectus
abdominis effectively will help to
increase your core strength and
decrease overuse of the hip flexor muscles. E4776/Haas/Fig.2.06b/339218/Milner/R2
Since the abdominals are located
in your center, let all of your movement radiate from this point. This is
where your body placement finds improvement.
25
Hip flexor isometrics
Iliopsoas
Execution
1. Lie on your back with both legs bent and feet on the floor. Coordinate
a small pelvic tilt E4776/Haas/Fig.2.06a/339219/Milner/R1
by engaging the lower abdominals and maintain that
slight tilt throughout the exercise.
2. Focus on the deep iliopsoas to contract and elevate the thigh toward
the same shoulder with slight turnout. Maintain leg height just above
90 degrees.
3. Press against the thigh with one hand to perform an isometric contraction of the iliopsoas. Hold for 4 to 6 counts and then relax. Repeat
only 4 times to focus on location of the muscle.
Muscles Involved
Iliopsoas
26
Dance Focus
This exercise is a simple
isometric contraction to help
you visualize, locate, and
contract the iliopsoas. This is the
assistance you need to lift your
legs higher than 90 degrees.
As this muscle contracts, do
not allow the activation of
the muscle fibers to pull your
lower back into an arched
position. Allow the abdominals
to contract as well to keep
the pelvis from wanting to tip
forward. Visualize the muscles
that run vertically along the
back of your spine, lengthening
and stretching as the iliopsoas is
contracting. Release the tension
in the upper body and send the
energy down to the iliopsoas.
If you need to, close your eyes
and visualize the origin and
insertion. Knowing that this
muscle connects your lower spine to your femur, imagine pulling your femur
closer to your spine, not your spine to your
femur. This image will create
E4776/Haas/Fig.2.07b/339220/Milner/R3
more awareness of spinal alignment and help to lift your legs higher.
Va r I at I o n
Hip flexor Neutral
1. Repeat the main exercise. While maintaining the deep iliopsoas
contraction, bring your pelvis into a more neutral position. This is
challenging! While maintaining control, slowly begin to lengthen the
abdominals to slightly roll the pelvis back to neutral. Maintain the
contraction of the iliopsoas.
2. On reaching neutral and still feeling the contraction of the iliopsoas,
relax and repeat the exercise another 4 times.
SafetY tip avoid overextending in the lower back as you
move into neutral. Move with control.
27
Spinal Brace
Multifidi
Execution
E4776/Haas/Fig.2.08a/339222/Milner/R4
1. Lie on your front with a small pillow placed under your waist for support and your elbows bent with your hands under your forehead.
2. Inhale to prepare. On exhalation, feel the abdominals tightening and
lifting toward your spine; allow the pillow to give you added support.
Isometrically contract the small, deep musculature along your spine.
Visualize the deep multifidi intertwining along your spine like thick
rubber cords. Gently contract along the spine, as if to hover over the
pillow.
3. Hold that position as you inhale. With a strong exhalation, continue
the deep spinal contraction and slowly move your spine into a slight
extension by lifting the upper back. Allow your spine to move into
a slight long arch position; emphasize localized, effective movement
between each vertebra.
4. The deep spine multifidi muscles contract to support and initiate a
small amount of extension along with a cocontraction of the abdominals. This provides significant support and security for your spine.
Hold for 4 to 6 counts. On exhalation, slowly return with control.
Repeat 10 to 12 times.
SafetY tip avoid extreme extension in your neck. Maintain
abdominal support for stability in the lower back.
28
Muscles Involved
Multifidi
Dance Focus
Let this small, detailed exercise help you feel
the power and strength of the spine to secure
your placement. Visualize the small, deep
multifidi gently compressing or hugging your
spine as if to brace it. Although larger muscles
create extension of your spine, use this exercise
to emphasize a secure, braced spine. Without
the power of the multifidi and coordinating
efforts of the abdominals, your spine would
collapse under the pressure that dance motions
create. This is key to understanding placement
and stabilization of the spine before any
movements occur with the arms or legs. This
will give you excellent placement skills and
the needed length for axial elongation. It also
distributes the forces evenly. All movement of
the arms and legs should be initiated by the
contraction of the deep transversus abdominis
and the deep multifidi muscles.
Va r I at I o n
E4776/Haas/Fig.2.08b/339223/Milner/R2
Side Hover
1. Repeat the main exercise. Continue to engage the deep abdominals.
Organize your spine to move into a slight lateral (side) bend with
inhalation along a lengthening arc.
2. Hold this position for 4 counts. Visualize the deep stabilizing musculature along the spine and the added security of the deep quadratus lumborum connection
between the ribs and the
pelvis. (You will learn more
about the quadratus lumborum muscle in chapter
4.) Return to your starting
position; exhale and ease
back down. Repeat to the
other side and alternate
for a total of 4 times on
each side.
E4776/Haas/Fig.2.08c/339224/Milner/R2
29
ischial Squeeze
Pelvic floor
muscles
Execution
E4776/Haas/Fig.2.09a/339230/Milner/R2
1. Seated on a stool or chair, with legs and hips slightly turned out, rock
the pelvis side to side to locate the ischial tuberosities along the lower
portion of your pelvis (the sit bones). Return and locate your neutral
alignment while seated. Check to make sure you are not in a posterior
pelvic tilt or overextending the lower back with an anterior tilt. Rest
your crossed arms in front of your body and gently inhale.
2. As you exhale, engage the pelvic floor muscles and pull the sit bones
together. Try to organize this muscle contraction with your exhalation. Visualize the muscles of the pelvic floor shortening, allowing the
sit bones to pull toward each other. Notice how your spine gently lifts
with this supportive contraction.
30
3. Relax and feel the muscles eccentrically lengthen. Repeat the exercise
again; as you begin to experience this contraction, try to visualize the
pubic and coccyx bones pulling together as well. Repeat 10 to 12
times.
Muscles Involved
Pelvic floor muscles
Dance Focus
Within all of your creative dance motions,
you probably never think about using
the pelvic floor muscles. If you notice
where the pelvic floor is located, you will
understand the significance of its ability to form the basin of support for your
pelvis. During technique classes, choreography, and rehearsals, there is hardly
ever a mention of these muscles, so take
a moment to understand this exercise and
its relationship to placement. This is an
excellent exercise for emphasizing body
awareness; if it doesn’t come right away,
zero in on the sit bones and visualize the
basin shrinking. The movement is very
small and fine, but small shifts can lead
to large supportive changes. We continue
with pelvic floor musculature in chapter
6, but use this exercise as the introduction
and become familiar with the lift and support that it provides.
E4776/Haas/Fig.2.09b/339232/Milner/R3
31
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ribs and breath
a p t e
3
E
ven though breathing is the natural process of bringing oxygen into the
lungs, most dancers are unclear about exactly how to breathe! Okay, you
know how to breathe, but can you use your breath efficiently to reduce tension
and improve core strength? How many times do you receive cues to pull your
tummy in and up? Typically, you will suck your belly inward, throw your ribs
and chest upward, and elevate your shoulders. Now you have increased the
tension in the upper body and have actually made it more difficult to breathe!
How can you possibly move with ease and grace? Breathing is part of dance
and movement. If you’re instructing a class, you might want to add breathing exercises into the dance combinations. You could choreograph breathing
into the exercises with the music so the dancers become more aware of their
breathing patterns. This organized, rhythmic breathing can be a great tool for
instilling better breathing habits.
Breath Anatomy
Breathing consists of two phases: inspiration, the period when oxygen flows
into the lungs, and expiration, the period when carbon dioxide leaves the
lungs. Every part of your body needs oxygen. Oxygen allows cells to release
needed energy for the muscular work of dancing. Both phases can be either
passive or forced. While reading this book, you are probably unaware of your
breathing. At the beginning of your warm-up or technique class, you focus on
organizing your body and are unaware of your breathing mechanism. These
are examples of quiet, passive breathing. Holding a beautiful balance in relevé
would require passive, quiet breathing as well.
The active process of inhalation and exhalation is a more forced act of
breathing. This can be described as deeper breathing and uses more musculature for inspiration and expiration. You may find yourself breathing deeper
while executing jumping combinations or when the choreography requires
more challenging muscle work. Organizing the process of breathing will reduce
tension in the upper body, improve oxygen flow to your muscles, and engage
your core muscles. All of the exercises in this chapter will help you organize
your breathing.
Your lungs are soft, spongy, elastic organs that provide the passageway for
air. They are surrounded and structurally supported by your ribs. This chapter
is not about overanalyzing every detail of the respiratory muscles, but an
overview of this process can assist you in becoming a better dancer. Some of
the muscles we focus on first are the diaphragm, the transversus abdominis,
and the pelvic floor muscles.
33
r
C
h
34
Dance anatomy
The diaphragm is the most important muscle of the respiratory system. As the
primary mover, it is a large, dome-shaped muscle that lies within the rib cage
(figure 3.1). It might help to visualize an open parachute inside your rib cage.
All of its muscle fibers run up and down, which determine how it contracts. The
diaphragm is attached to the lower end of the sternum (chest bone), the lowest
six ribs, and the spine. This muscle is responsible for causing the three-dimensional
shape changes in the thoracic and abdominal cavity. As you inhale, the diaphragm
contracts, moves downward, and flattens out. This contraction allows the lungs
and ribs to expand a small amount in all planes, which increases the volume of
the thoracic cavity. This expansion moves your ribs in a three-dimensional pattern.
The abdominal wall is made up of four layers; the deepest of the layers is
the transversus abdominis muscle, which supports your trunk like a corset.
The transversus abdominis muscle fibers run horizontally—the diaphragm
weaves into the fibers of the transversus abdominis. On forced exhalation,
the transversus abdominis muscle begins to contract, increasing abdominal
pressure. Typically, forced exhalation can help you on the downward phase of
some movements by enhancing the control of the landing. Try a slow grande
battement (high kick); inhale on the preparation and into the leg lift; then
actively exhale on the way down. Notice how the exhalation supports the
downward phase—you have more control over your leg. The importance of
the abdominal wall in supporting the spine and core is discussed in detail in
chapter 4. But remember that forced exhalation has a direct relationship with
the deep transversus abdominis muscle contracting.
Several layers of muscles support the pelvis, which are also involved in forced
exhalation; they connect between the ischium (sit bones), the pubic bone,
Sternum
Lung
Diaphragm
Figure 3.1
The diaphragm.
E4776/Haas/Fig.03.01/339235/JenG/R1
ribs anD breath
35
and the coccyx (tailbone). These muscles are the pelvic floor muscles. Visualize a diamond shape—the sit bones along the side points of the diamond and
the pubic and coccyx bones along the front and back points. During forced
exhalation, the muscles that align and attach along the points of the diamond
engage, pull together, and provide support for the position of the pelvis. This
muscular contraction becomes more apparent while practicing the breathing
plié exercise (page 48). Now, when practicing efficient breathing with plié,
the upward phase of the plié coordinates the exhalation with engagement of
the deep core and the pelvic floor.
Diaphragm Movement
Do you wonder why you are so fatigued after performing certain types of
choreography, and do you come to the conclusion that you must keep practicing to build up stamina? How can you build up stamina if you are not getting
adequate oxygen? Very simply, on inhalation, the lungs and ribs widen, the
diaphragm moves downward, and the abdominal muscles lengthen (it’s okay
to let your tummy relax a little). On exhalation, the diaphragm moves upward,
the ribs return, and the abdominal muscles contract or shorten. There is more
emphasis on a three-dimensional movement of the lungs and ribs to provide
adequate space for oxygen to enter.
If your stamina is in question, you have probably been rehearsing with
upper-chest breathing or shallow breathing while trying to hold your belly in.
With upper-chest breathing, air enters only the top of the lungs, which raises
your center of gravity. If your chest is too high, you will find it harder to balance and have difficulty with freedom in the shoulders. You have created a
leaner look for the moment but have reduced the ability of your diaphragm
and lungs to work properly—thus, limiting oxygen intake!
The diaphragm also has muscle attachments to the iliopsoas, which is the
powerful hip flexor muscle. By aggressively sucking your tummy in, you also
limit the efficient movement of the diaphragm and iliopsoas, which can create
unwanted tension in the hip joint. The iliopsoas muscle is composed of two
muscles: the iliacus and the psoas major.
• The iliacus originates along the iliac crest and inserts into the femur.
• The psoas major originates along the lumbar vertebrae and the 12th
thoracic vertebra and inserts into the femur.
The balance of these two muscles is extremely important for dancers. The
iliopsoas connects the spine and pelvis to your legs. A healthy balance between
strength and flexibility will help you achieve leg height above 90 degrees and
can decrease lower-back pain. When elevating your leg, allow the inhalation
to create a lengthening feeling through the spine and the exhalation to create
a deep contraction of the abdomen so the hip joint is free to move with ease.
With any forward cambré position, the flexion action deep in the front of
the hips compresses the abdomen and brings the diaphragm toward your
head, so efficient breathing must occur more in the back of the rib cage. Feel
36
Dance anatomy
as though you are breathing more into the back of the lower ribs to provide
adequate space for taking in oxygen. Tension in the hip joint will cause labored
breathing, which limits oxygen flow.
Muscle Action
Other muscles also work during respiration (figure 3.2). The external intercostals lie between the ribs. On inhalation, they contract to open the ribs and
bring the sternum forward. Because of the shape of the ribs, they move in a
lateral, anterior, and posterior direction to widen the chest. Visualize how a
curved bucket handle is raised. The scalene and sternocleidomastoid muscles
in the neck, along with the pectoralis major muscle of the chest, can raise the
ribs even more. They do have other jobs, but these muscles activate, elevating
the ribs during inspiration.
• The scalene muscles originate along the cervical vertebrae and insert
into the first two ribs.
• The sternocleidomastoid muscle originates on the sternum and clavicle
and inserts into the temporal bone (jaw).
• The pectoralis major originates at the clavicle, sternum, cartilage of ribs
1 to 6, and external oblique and inserts into the humerus bone.
Because these muscles are so involved in inspiration, can you see how overactivating these muscles can create tension in the upper body? When lifting
your arms overhead in any dance position, think about elongating axially with
the inhalation and widening with the rib cage, not elevating the rib cage. By
emphasizing the lateral rib movement, you will create mobility throughout
your thoracic spine and freedom in the shoulders.
You have learned that during the active process of forced expiration, the
deep abdominal wall contracts along with the pelvic floor. But the intercostal
muscles within the ribs, the latissimus dorsi in the back, and the quadratus
lumborum also engage to depress the ribs. Get into the habit of using your
exhalation to release superficial tension but increase deep abdominal tension.
You certainly don’t want your audience to see you fighting with tension,
panting heavily, and gasping for air. Your audience wants to see incredible skill
without physical exhaustion. Think of your diaphragm floating up and down
within the movement of the ribs, not creating tension in your jaw, neck, and
shoulders. Visualize the lungs moving softly so the ribs can be flexible. When
exhaling throughout all of the exercises in this chapter, focus on relaxing the
neck and shoulders but increasing the abdominal pressure.
Two other layers of the abdominals are the internal and external oblique
muscles. As you will learn in chapter 4, the oblique muscles play a significant
role in supporting your trunk and improving basic body placement in dance. The
internal oblique muscles have fibrous attachments to the internal intercostals,
and the external oblique muscles have fibrous attachments within the external
intercostals, again emphasizing the relationship between breathing and the
core. Twisting dance movements involve the oblique muscles: The upper body
Scalenes
Sternocleidomastoid
Pectoralis major
External intercostals
Serratus anterior
Internal intercostals
Transversus abdominis
Diaphragm
Internal oblique
External oblique
Rectus abdominis
Iliopsoas
a
E4776/Haas/Fig.03.02a/339236/JenG/R2
Trapezius
Erector spinae
Latissimus dorsi
Quadratus lumborum
b
Figure 3.2
Muscles E4776/Haas/03.02b/339237/JenG/R1
that work during respiration: (a) front; (b) back.
37
38
Dance anatomy
is rotated in one direction against the resistance of the lower body holding in
the opposing direction. To make this twisting of the torso more effective, you
must maintain freedom in the shoulders and hips; otherwise it will be too difficult for the diaphragm, abdomen, and ribs to move for breathing. Although it
is next to impossible to choreograph breathing into every dance step, practice
using the active (forced) exhalation when you need control. Inhale on the
preparation and exhale on the movement.
Remember the discussion about the gliding joints? They involve the ribs and
their attachments to the spine. There is typically very little movement along the
midspine; you want to improve the mobility at these joints to release tension.
Use the inhalation to assist you in lengthening through your spine through all
planes of movement. The lengthening effect gives you more space between
vertebrae and incorporates a small amount of movement along the rib attachments. Let the exhalation phase occur deep within the abdomen and pelvic
floor to ground your pelvis and support your spine.
Nasal Breathing
Nasal breathing refers to inhalation and exhalation through the nose. Many
yoga exercises emphasize breathing through the nose. Some Pilates exercises
are based on inhaling through the nose and exhaling through the mouth.
The Alexander technique uses a combination of nasal and mouth breathing,
especially in training singers. Inhaling through the nose does help to filter
the air, and exhaling through the nose helps to control the amount of carbon
dioxide leaving your body. Exhaling through the mouth might help you focus
more on deep abdominal contraction. Sometimes when you are short of
breath, it might help to exhale through your mouth. It is important for both
singers and swimmers to be able to maintain a healthy balance of nasal and
mouth breathing. For the purpose of this text, some exercises use both patterns. Excellent breathing techniques can aid in the execution of your dance
movements and provide a pleasing quality to your upper body. You can train
your lungs and ribs to move more efficiently and limit tension in various joints
by practicing the following exercises. Use the exercises in this chapter as part
of your daily warm-up as well as part of your cool-down.
Dance-Focused Exercise
Before proceeding to the exercises, take a moment to practice inhaling:
Widen through the ribs laterally; on exhalation, feel the ribs returning along
with a deep abdominal supportive contraction. Each time you inhale, expand
through the ribs and lungs with minimal movement in the upper chest. When
you exhale, feel tension leaving the neck and shoulders. Now, practice this
breathing style while lying down, seated, and standing just to change your
base of support. Try this in front of the mirror and focus on your neck and
the top of your shoulders. Are they elevating (meaning you are adding more
muscle tension)? You want minimal upper-chest movement and freedom in
the neck and shoulders. Look in the mirror to see your ribs moving laterally.
ribs anD breath
39
Let your chest feel weightless and your neck be long and free. Try a few arm
movements; inhale as the arms go up, and exhale as they return. Think of the
smooth movement in the shoulders separate from the widening movement
of the lungs and ribs.
Lateral Breathing
Sternocleidomastoid
inhale.
exhale.
Scalenes
External
intercostals
Internal
intercostals
Diaphragm
E4776/Haas/Fig3.04a/339238/Milner/R1
Execution
Internal
oblique
Transversus
abdominis
External
oblique
1. Lie faceup with knees bent and feet onE4776/Haas/Fig3.04b/342467/Milner/R2
the floor and arms at your
sides with palms up. Locate your neutral position. On inhalation
through the nose, slightly relax the belly, feel the ribs opening and
widening, and visualize the diaphragm moving downward. Continue
to expand through the middle of the chest and the back of your ribs.
Inhale for a slow count of 3; hold on the count of 4. Do not allow
your upper chest to lift or your spine to extend.
2. With forced exhalation through the mouth, feel the ribs returning,
the midchest relaxing, and the diaphragm elevating. Feel your deep
abdominal muscles contracting and remember to release tension in
the back of your neck. Feel as though you are gliding your shoulders
down toward your hips. Exhale for a count of 4. Repeat the exercise 6
times.
3. You can also try this with one hand on your ribs and one hand on
your chest. Focus on lateral rib movement without upper-chest movement; continue to relax the neck, jaw, and throat.
40
Muscles Involved
Inhalation: Diaphragm, external intercostals,
scalenes, sternocleidomastoid
Exhalation: External oblique, internal
oblique, transversus abdominis,
internal intercostals, latissimus dorsi,
quadratus lumborum
Dance Focus
For visual help with moving the ribs in a more
lateral direction, you can try this exercise while
sitting or standing in front of a mirror. You can
also try this with a partner: Place your hands
on the back of your partner’s ribs. When your
partner inhales, feel the ribs moving into your
hands; on your partner’s exhalation, gently press
into the ribs to assist with the returning of the ribs.
Feel less restriction in your neck and chest; let
your spine move because of the antagonistic efforts of the diaphragm and the
abdominals. Use your breathing with jumping combinations. Practice small
jumps with rhythmic breathing: two small jumps with
inhalation and two small
E4776/Haas/Fig3.04c/339239/Milner/R2
jumps with exhalation. You might want to inhale at the top of a larger jump
for an added lift and finish with the exhalation for support and control of the
landing. Notice how the breathing makes you feel lighter. Remembering your
breath and using it effectively will help you move with fluidity and depth.
Va r i at i o n
Lateral Breathing With Resistance
1. Take a resistance band and
exhale.
wrap it around your ribs from inhale.
the back; cross it in the front
and hold the ends with your
hands. You may try this while
seated or standing. Repeat the
same breathing cycle, but on
inhalation, widen the rib cage
into the resistance of the band.
2. With forced exhalation, actively
pull the band to assist the rib
cage in retracting. Working with
the band allows you to advance the inhalation technique to improve
lung capacity. Focus on deep breaths, movement of the diaphragm,
E4776/Haas/Fig3.04e/342468/Milner/R3
and activation of your deep
abdominals. Repeat
6 times.
E4776/Haas/Fig3.04d/339240/Milner/R3
41
Breathing With Side Bend
Internal
intercostals
Diaphragm
External
oblique
Transversus
abdominis
Internal
oblique
E4776/Haas/Fig3.05a/339241/Milner/R2
Execution
1. Begin while seated with legs comfortably crossed in front and hands
placed by your sides. Locate your neutral position. Inhale through the
nose; lengthen through your spine on exhalation through the nose.
Engage the core musculature; gently slide the right hand along the
floor and bend laterally directly along your frontal plane. Keep both
ischium firmly on the floor. Allow your left arm to lift overhead, maintaining width through the chest. Your head may remain facing the
front or may be gently turned toward the direction of the bend.
2. Gently rest the right elbow on the floor, continuing to lift through
your center. Do not collapse into the elbow. Hold for a breath cycle.
Feel the lower ribs of the left rib cage opening wide as you inhale. Be
aware of the difference between the left rib cage’s expansion and the
right’s compression.
3. With forced exhalation, feel the left rib cage pulling together and the
diaphragm lifting. Engage the deep transversus abdominis and oblique
muscles while moving in the longest possible arc. Return back to your
seated starting position. Repeat 2 to 4 times each side.
SafEty tip try to avoid letting the neck collapse. Maintain
axial length and support.
42
Muscles Involved
Exhalation: Diaphragm, internal intercostals, transversus abdominis,
external oblique, internal oblique
Dance Focus
Allow yourself the privilege of moving
smoothly through various planes, trusting the flexibility and stability that your
respiratory system provides for you. As
you bend your trunk to the side, notice
how the top of the lung lifts and the
bottom slides downward. Let this principle of internal elasticity give you more
fluidity throughout your upper body
and more mobility through your thoracic spine. Moving from your center
will have more meaning for you when
you can feel freedom in your movements. Each time you inhale, allow the
air to fill the entire portion of the lungs.
As you continue to increase your lung
capacity and breathe more comfortably,
you will find that you actually have
more mobility in your lateral bends.
With each exhalation, notice how the
E4776/Haas/Fig3.05b/339242
/Milner/R2
abdominals can anchor your pelvis and support
your spine. Remember
to
emphasize moving along the longest arc through the entire range of the
side bend.
43
Breathing With port de Bras
Diaphragm
start position.
External
intercostals
E4776/Haas/Fig3.06a/342469/Milner/R1
arms in
second position.
E4776/Haas/Fig3.06b/342470/Milner/R1
Execution
E4776/Haas/Fig3.06c/339243/Milner/R2
1. Stand comfortably in a wide second position. Focus on neutral alignment and provide a firm base for your balance. Before beginning, feel
the arms lengthening by your sides and a sense of relaxation around
your neck and shoulders. Neatly stack your spinal curves on top of
each other and feel a gentle lift through your waist.
2. As you begin to inhale through your nose, open your arms to second
and continue to lift them to high fifth. Feel the rib cage expanding
with air. When the arms are overhead, focus on the weight of the
arms moving down the spine to release tension in the neck and shoulders.
44
3. Hold that position briefly and notice how relaxed the back of your
neck is. Exhale through your nose as you bring the arms down by
your sides, allowing the lungs and ribs to return. Repeat this 4 to 6
times; inhale 4 counts and exhale 8 counts.
SafEty tip avoid overextension in the neck, which compresses the cervical discs; just let your neck be an extension of
your spine.
Muscles Involved
Inhalation: Diaphragm, external intercostals
Dance Focus
While this is a very basic breathing
exercise, the key is to coordinate the
lifting of your arms with effective
inspiration. This is what will give your
upper body a light, lifted feel without tension surrounding your neck
and shoulders. When you breathe in,
fill the lungs with oxygen and feel
the rib cage expanding and the diaphragm gliding downward—this will
allow the lungs to move with ease
and flexibility. Visualize the external
intercostals contracting to expand
your ribs so your upper chest will not
elevate. Notice a gentle mobilization
where your ribs meet your spine; this
will improve your thoracic mobility
and spinal alignment. Inhale through
your nose and imagine your arms
floating up as your ribs swell. Exhale
through your mouth when the arms
float back down. Repeat this 4 to
6 times. Do not allow your spine to
move into extension; this will cause
your chest to elevate, your tension to increase,E4776/Haas/Fig3.06d/339245
and your alignment to/Milner/R2
suffer.
As breathing and lifting the arms without tension become easier, add relevé
and then repeat with jumps and leaps.
45
thoracic Extension
External
intercostals
Execution
E4776/Haas/Fig3.07a/339247/Milner/R4
1. Center yourself comfortably on your hands and knees. Align your
shoulders over your wrists and your hips over your knees. Practice
several lateral breathing patterns. Remember to release tension in the
neck.
2. As you begin to inhale, create an arch through your entire spine.
Think about lengthening and moving in a long arc; just allow your
head to follow. Don’t overextend in the neck. Feel the abdominals
being stretched as you expand through the lower ribs. Inhale through
the nose for 4 counts.
3. On exhalation through the nose, reverse the arch and move into
your starting position. Repeat this 6 times and focus on lengthening
through the spine and widening through the ribs. Let all the segments
of your spine move equally.
SafEty tip avoid overextension in the lower segments of the
spine.
Muscles Involved
Inhalation: External intercostals (stretching of abdominal wall)
46
Dance Focus
Most of the time, inhalation should
occur with back-bend positions. But, as
you might have noticed, it is difficult to
breathe if you are trying to hold your
abdominals tight. So, to keep your lower
back safe, you must use the entire spine;
allow the abdominals to stretch and the
chest to expand laterally. Let your inhalation help you extend your spine in that
long arch position. Allow the tightness of
the abdominals to create pressure against
the abdominal cavity; this will give your
spine the needed support. Remember to
feel your weight into your legs; secure
yourself by feeling stable in the lower
spine and pelvis. Feel as though you are
breathing into the spaces between your
ribs, allowing them to expand. You will
begin to notice you actually do have
more three-dimensional range of motion
in your chest.
E4776/Haas/Fig3.07b/339251/Milner/R1
Va r i at i o n
trunk Extension
1. Repeat this exercise of your upperback extension in a standing position with one hand on the barre for
balance and the other in a high fifth
position.
2. As you inhale, widen through your
chest. Lengthen and extend the
spine, creating a long arch and
moving evenly. Do not raise your
shoulders and create tension in your
neck; continue to feel the abdominals stretching. Your pelvis remains
directly over your legs and feet.
3. On exhalation, control the movement on the return and again feel
lengthening through the spine.
Repeat 4 to 6 times.
E4776/Haas/Fig3.07c/339253/Milner/R3
47
Breathing plié
Diaphragm
Diaphragm
Transversus
Transversus
abdominis
abdominis
Pelvic floor
floor
Pelvic
muscles
muscles
Execution
E4776/Haas/Fig3.08a/339254/Milner/R4
1. Stand in a firm turned-out second position with arms by your sides.
Locate your neutral position. On inhalation through the nose, move
into demi-plié while still focusing on axial elongation. Balance your
weight evenly throughout your feet. The pelvis remains in a neutral
position, and there is an eccentric lengthening of the pelvic floor.
2. With forced exhalation through the mouth, begin the upward phase.
As the lungs and ribs return, engage the deep abdominals and feel the
pelvic floor contracting. Visualize the ischium pulling together as well
as the coccyx and pubic bone pulling together.
48
3. At the top (completion) of the plié, hold for 3 seconds and focus on
neutral spine placement and an isometric contraction of the pelvic
floor. Repeat 4 to 6 times. Allow the rhythm of the breathing with the
plié to energize your body.
Muscles Involved
Exhalation: Diaphragm, transversus abdominis, pelvic floor muscles
Dance Focus
Plié is so commonly used in all dance
styles but may be the most overlooked
motion you perform on a daily basis.
It prepares you for relevé and for
jumps, and it is the transition movement between steps. Without a pliable
plié, you are left with choppy, rigid
traveling steps. Visualize your threedimensional movement of the thoracic
spine with inhalation as you begin
your plié. Maintain axial length along
your spine and organize your breath.
Allow the inhalation to prepare your
body and the exhalation to anchor
your lungs, abdominals, and pelvic
floor. The upward phase engages the
pelvic floor and deep abdomen to give
you the firm base to take off for pirouettes, jumping combinations, or relevé
en pointe. Try to coordinate the inner
thigh muscles’ contracting as the legs
begin moving together; this contraction will add more support for your
pelvis. A firm yet smooth plié with
smart breathing will secure your pelvis and lower
spine. Your hips will be
E4776/Haas/Fig3.08b/339314/Milner/R2
free to turn in or out without constriction. The quality of all of your movement will improve.
49
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core
a p t e
4
A
ll movements in dance are generated from your torso, which is your
foundation. A firm foundation promotes postural awareness and spinal
stability. Your goals are to move through space creating the most challenging
and interesting dance steps with ease, right? Achieving these goals requires
strong trunk muscles. One of the most basic movements in dance is the
plié—whether it is performed parallel, turned in, or turned out, it requires
coordination of breath and core strength. When choreography requires your
torso to move off balance, the strength of your center keeps your spine from
collapsing. Anytime you need to extend your spine while jumping, your core
musculature must brace your spine for protection. All aspects of dance can
challenge the spine. When you prepare for movement, core activation allows
for more control of your movements.
Abdominal training is so popular now, but as a dancer, do you really know
how to use the abdominal muscles to help your technique improve? It’s not
just about performing daily crunches; it’s about understanding the anatomy
of your center and coordinating the action of the muscles that make up your
core. The muscles of the core that contract to stabilize your spine continue to
receive a lot of attention with regard to injury prevention and care of the spine.
Numerous medical studies prove the connection between the cocontraction
of the trunk muscles and a reduction in back injuries. All of these muscles are
responsible for excellent posture and a toned waist. It is important for you to
strengthen these muscles and apply that strength to your movement, meaning
learn how to dance from your center!
For spinal support, you need to create this cocontraction of the trunk muscles,
which means engaging the transversus abdominis, obliques, pelvic floor, and
multifidi. Your core musculature has been described in various ways and has
multiple titles: center, trunk, abdomen, midline, powerhouse, spine stabilizers,
torso, and abdominal wall. But each title has no significance if you are unable
to apply core strength to your dancing.
Core Anatomy
Basic anatomy tells us that the muscles that make up the abdominal wall,
beginning with the deepest, are the transversus abdominis, internal and external obliques, and rectus abdominis (figure 4.1). When these muscles contract,
they provide security for your spine and spinal curves.
The deep transversus abdominis contains fibers that run horizontally. This
layer can be difficult to feel and contract, but it can give you that flat-belly look.
51
r
C
h
52
Dance anatomy
External
oblique
Transversus
abdominis
Internal
oblique
Rectus
abdominis
Figure 4.1 The four
layers of abdominal muscles.
Try to visualize the transversus abdominis muscle as a corset providing a brace
effect while you dance.E4776/Haas/Fig 04.01/339334/JG/R1
The internal oblique is a thin layer of muscle located along the side of the
trunk. When this muscle contracts, it pulls you into a side bend or rotation
on that same side. This action accentuates side cambré movements, twisting
motions, and jazzy pelvic isolations. The external oblique muscle is the most
superficial and the larger of the two obliques; the fibers run in the opposite
direction. When the external oblique muscle is contracted, its primary action
is flexing the spine and bending to the side, but it also contracts in spinal rotation from the opposite side. Your oblique muscles help your ribs feel connected
to your pelvis. If you feel like you are dancing with your ribs up, think more
about the diagonal fibers of the oblique muscles shortening to funnel the ribs
in and downward.
The linea alba is a fibrous structure that runs down the center of your abdomen; it separates the right and left rectus abdominis. The superficial rectus
abdominis is the long, flat muscle that is actually divided into four sections,
giving it that washboard effect. This is an important trunk flexor—again, it is
significant in a modern contraction or when rolling up from cambré forward.
Remember that the walls of the abdomen have no bony reinforcements, but the
layering and directional changes of the fibers combined create great strength.
Basic anatomy also tells us that the deep multifidi muscles run along the
posterior aspect of the spine providing spinal support for each vertebra, while
the more superficial erector spinae muscles provide support when the spine
extends (figure 4.2). The multifidi and the deep transversus abdominis have a
higher percentage of type I (slow-twitch) muscle fibers, which makes them so
effective for stabilization and posture control. The erector spinae muscles, when
tight, contribute to the anterior (forward) tilt of your pelvis. Both multifidi and
erector spinae have numerous attachments along the entire spine, some of the
ribs, and the sacrum, creating a detailed arrangement of intertwining soft tissue
53
core
Erector
spinae
Multifidi
Quadratus
lumborum
Gluteus
minimus
Gluteus
medius
Figure 4.2 Core muscles
on the back of the body.
E4776/Haas/Fig
04.02/339348/JG/R1
structures that provide spinal
security.
These deep posterior core muscles can
provide stability with fine coordination movements as well as larger forceful
movements. So, anytime you perform small, fast (petit allegro) footwork or
large, sweeping (grande allegro) combinations, there should be an organized
contraction of the deep spinal musculature that allows for spinal support. When
combined, these muscles primarily make up the core. In figure 4.2, the gluteus
medius and minimus have also been included due to their importance in helping to maintain a stable pelvis, which is also important for your placement and
dance skills. There is more discussion on this topic in chapter 6.
The muscles lining the deep pelvic region have a significant role in centering,
pelvic stability, and postural awareness. Several muscles make up this area,
but for this text they are combined and described as the pelvic floor (figure
4.3). The pelvic floor consists of several strong muscles within the bones of
the pelvis; visualize a basin as we continue exploring the anatomy of this area.
The pelvic bones are made up of two strong hip bones, each consisting of an
ilium, ischium, and pubic bone. This basin of bones is enclosed at the front
by the pubic symphysis, or joint, and in the back by the sacrum, down to the
tailbone (coccyx). While performing various seated floor exercises, notice the
two bones that you are sitting on; some jazz dancers call them the booty bones.
These two sit bones are at the base of the ischium. Now, you have formed a
diamond shape with the bones of the basin—the pubic bone in the front, the
sit bones along the sides, and the tailbone in the back. The muscles that line
this basin are layered for added strength and can tighten or stretch. Return
for a moment to the very first exercise (locating neutral) in chapter 2 (page
20). Extend your lower back and move your pelvis into that forward (anterior)
tilted position. Then begin to move your pelvis into your neutral position and
visualize the diamond shape shrinking. Continue to practice this, engaging the
pelvic floor. Feel the deep security of the lower portion of your trunk.
54
Dance anatomy
Piriformis
Coccygeus
Levator ani muscles:
Iliococcygeus
Pubococcygeus
Puborectalis
Figure 4.3
Muscles of the pelvic floor.
E4776/Haas/Fig.04.03/339347/JG/R2
Fascia can also play a part in awareness of the trunk. Fascia is the superficial
tissue lying just under the skin, which anchors the skin to the underlying organs
and allows the skin to move freely. Fascia can help protect the deeper body
tissues from heat loss and functions as a shock absorber. The thoracolumbar
fascia is the membrane of fibers that covers the muscles of the back. It has
connections to the core muscles, ribs, vertebrae, and sacrum. Some studies
report that the fascia can create tension in coordination with abdominal contraction, which would help to create control for your spine. But if the abdominal
muscles are weak and inactive, this tension of the fascia will pull your lower
spine into extension, leaving your spine vulnerable to injury. The unsupported
extension of the spine along with the tension of the thoracolumbar fascia can
create tightness in the lower back.
The iliacus and psoas combine to form the iliopsoas, which connects your
spine to your pelvis and femur, also significant in maintaining balance, strength,
and flexibility for your center. The iliopsoas originates in the lumbar spine and
ilium before inserting into the lesser trochanter of the femur. It works together
with the core musculature and the pelvic floor to provide postural control.
Role of the Core in Dance Techniques
Every dance technique requires intense control, which is provided by core
strength. Consider the incredible technique of Irish dance. These dancers must
hold the spine firm throughout all of their combinations. Their trunk placement
must be intensely secure so they can move their legs and feet with incredible
speed. In Irish or any other form of dance, the technique is demanding and
injury can keep you from training and competing. Include core conditioning
into your dance training to improve body placement and reduce risk of injury.
We know that ballroom, social, or partner dance is fluid and beautiful to
watch, but it is also quick and powerful. The male partner needs to know
where the female dancer’s center is at all times. The swing, waltz, and salsa,
to name a few, require extreme coordination. Both dancers need to hold their
waists firm to provide stability for the pelvis for the quick footwork and chal-
core
55
lenging partnering movement. Strong core musculature provides for a safe and
efficient lift in the upper spine. Once the upper back begins to move safely
into extension, a more effective spiral in the spine can be executed. Ballroom
encompasses all forms of social dancing: folk, Latin, and vintage dancing. This
field is also highly competitive. The contestants are judged not only on footwork
and style but on posture, body alignment, and speed. Knowing what we know
about deep core strength, wouldn’t a series of exercises designed to improve
posture and body alignment help to improve the efficiency of the rehearsals? Even the noncompetitive social dancers will benefit from core training to
improve their skills. Being centered and maintaining postural control will have
long-term positive effects for anyone who enjoys social dancing.
Take a moment to look at the modified swan exercise on page 68. This
exercise gives the female partner that beautiful placement of the spine and
focuses on gentle thoracic extension. There is an elegant lift in the chest with
a long arch through the midback.
Modern choreography requires more tricky and creative jump combinations
as well as challenging movement patterns for the spine. Without the ability to
compact the core against the spine, the movement will be sloppy and weak.
Landing from these nontraditional jumping steps will create injury risks if the
spine and pelvis are unprepared. With extreme choreography, dancers must
now take their bodies to the extreme and their conditioning to the next level.
While some dancers can execute modern contract-and-release styles with ease,
other dancers need to practice more with spinal and pelvic stability in mind.
Specific exercises in this chapter can help you engage core musculature while
putting the spine in more nontraditional lines. Look at the variation to the
oblique lift exercise (page 63) as well as the trunk twist (pag 70); both exercises
focus on nontraditional movement with muscular support for the spine. The
focus is on abdominal bracing while working in various planes and patterns.
Even if you are not interested in a career in professional ballet, you are
probably required to take ballet technique classes as part of your training. If
you enjoy watching ballet and take a couple of beginner ballet classes each
week, you still need control for your spine. While other styles of dance are
more grounded, classical ballet gives the illusion of a lifted, light, and airy
quality. Ballet is based on various styles—Vaganova, Cechetti, Balanchine, and
Bournonville—but the foundation stems from five basic positions with the legs
turned out. This alone requires centering and abdominal control. For dancers of all ages who perform ballet, a strong center is extremely important for
placement, turns, jumps, landing from jumps, and, of course, pointe work. We
have Marie Taglioni to thank for being one of the pioneers in creating ballet
movement en pointe! Ballet calls for extreme joint motion and torso control. Go
back to our plumb line from chapter 2—alignment is crucial for spinal control
and injury prevention. Once the alignment is learned, then strengthening can
be emphasized.
As with all dance styles, the movement can be divided into phases: preparatory, ascending, flight, descending, and landing. The ascending phase usually
engages muscles in a concentric-type contraction; the flight phase should have
56
Dance anatomy
a “lift, hold, and hover” look, requiring extreme core strength and isometric
contraction. The descending phase requires an eccentric contraction; some
of the muscles lengthen but still support the movement while landing. This
eccentric contraction and control on the descending phase are important for
reducing injuries. Some studies show that landing from a grande jeté can create
a force up to 12 times your body weight. This is why control is the key, and
control comes from the core.
Breathing With the Core
Remember that breathing plays a significant role in strengthening the torso.
On forcing air out of the lungs, you begin applying intra-abdominal pressure.
You need the forced exhalation when you execute a difficult task. Each time
you perform some type of a high kick (grande battement), exhale and engage
the core. While practicing a turning combination, inhale on the preparation
and exhale on the turn; you will feel more security along your spine. While
executing a series of small jumping exercises, breathe comfortably but use the
rhythm of the combination to keep the balance between the inhalation and
the exhalation. The better you get at holding your torso firm, the easier the
breathing will be.
While executing the various exercises in this chapter, notice the breathing
cues. With each exercise, the deeper you breathe, the more the abdominal
muscles work. Remember to inhale through the nose and use the forced exhalation principle to engage the deep stabilizers; this will promote security for
your spine. Try exhaling through your nose for most of the exercises, but if you
seem to be fatiguing and need to exhale through your mouth, that’s fine too.
Dance-Focused Exercise
You can certainly perform the following exercises in the progression given. Be
sure to notice the detail of the anatomical drawings and visualize the muscle
fiber arrangements; these will help you understand the bracing effect the core
has on your spine. Think about where the muscles attach and how that area
provides steady support for your placement. You want to build up strength to
withstand any force that dance might put on your spine. Contract your core
muscles with deep intensity.
This first exercise, described in the sidebar on the following page, is meant to
be used as a deep abdominal warm-up while you visualize the bracing effects
of your core. The core strengthening exercises continue on the following pages;
use this abdominal bracing exercise to prepare for the rest of the series.
core
AbdominalBracing
1. Lie on the floor faceup with knees bent and feet comfortably placed on
the floor in parallel. Arms can be by your sides.
2. Feel lengthening through your spine, but relax through the base of your
neck. Locate your neutral position. Inhale through the nose to prepare
while widening through the ribs and lungs.
3. On forced exhalation, begin to contract the deep abdominals as if you
were tightening a corset, but maintain neutral position.
Practice this several times and then repeat it while seated and while standing as well. Remember that the spine and pelvis do not move while you learn
to isolate your abdominal muscles. This is a basic isometric contraction of the
abdominals; the muscles tighten but do not necessarily change shape. Visualize
the horizontal fibers tightening as you engage your abdomen (see the illustration on page 52). Remember to tighten the corset without throwing your ribs
and chest up. Various terms like stability, cocontraction, and bracing can be
misleading because you might associate those terms with a stiffening feeling
along your spine. The word stiff is not a word that most of you want to be associated with! But this exercise is quite the opposite. Remember that improving
deep core strength will actually enhance controlled movement of your spine.
Your jumps will dramatically improve because you have more security along
your spine. You will then be able to use the power in your hips and legs to fly.
57
Side Bend
Rectus
abdominis
Internal
oblique
External
oblique
Quadratus
lumborum
Execution
E4776/Haas/Fig.4.4a/339352/Milner/R2
1. Lie on the floor with knees bent and feet placed hip-width apart on
the floor. Gently rest your arms by your sides. Inhale slowly to prepare.
2. On exhalation, feel axial elongation. Engage your abdominals to raise
your trunk slightly. Begin to move into a left side bend, staying along
your frontal plane. Your trunk should slightly hover over the floor.
Move as far as you can without hiking the right hip; really feel the last
rib pulling toward your left hip.
3. Inhale and return to the center with control. Put the same amount of
effort into the side bend as you do on the return. Exhale to continue
to the other side. Repeat 8 to 10 times each side, working up to 3 sets
of 10 repetitions.
58
SAfety tip Move in a long arc to provide more space for the
discs. This will avoid compression along your spine and reduce
the risk of overuse in any one segment.
Muscles Involved
Rectus abdominis, external oblique, internal oblique, quadratus lumborum
Dance Focus
It’s very easy to perform a side bend without effort because gravity will
help you to lean over, especially if you are flexible. To perform a secure
and aesthetically pleasing cambré
side, let the oblique muscles and
the quadratus lumborum initiate
the movement; actually feel the
muscles contracting to pull you
into a side bend. This provides the
support you need but also prepares you for the next movement,
depending on the choreography.
Think about lengthening through
your spine before you cambré. If
you allow gravity to drop you into
the side bend, your muscles are
not toned; your spinal joints take
the stress. It will take more effort
to activate your muscles for continuation of the movement, but by
then you’ll be behind the music!
After practicing this exercise, stand
and perform a series of side bends
first slowly and then quickly.
Notice how ready your muscles
are. Notice the lift in your trunk,
and notice the tone in your waist.
E4776/Haas/Fig.4.05b/339353/Milner/R1
59
trunk Curl
Rectus
abdominis
External
oblique
Execution
E4776/Haas/Fig. 4.5a/339354/Milner/R1
1. Lie on the floor with knees bent and feet placed hip-width apart on
the floor. Position your arms in ballet first position. (This can also be
done with your arms across your chest, by your sides, or on your
shoulders.)
2. On exhalation, contract your rectus abdominis muscle to curl your
trunk 45 degrees off the floor. Stabilize your pelvis; your sacrum must
stay on the floor. Focus on the upper body moving into flexion; your
chin gently comes toward your Adam’s apple.
3. Hold this position for 2 or 3 counts and visualize your rectus abdominis muscle fibers shortening. Elevate yourself enough so that your
shoulder blades are off the floor. Think about curling throughout your
upper spine.
4. Inhale on the controlled return; do not allow gravity to drop you to
the floor. Reorganize and repeat 8 to 10 times. Remember to feel the
trunk moving toward a stable pelvis. As you get stronger, repeat 6 full
sets of 10.
60
SAfety tip Avoid pulling with the neck and overusing the hip
flexors. Trying to lift your trunk higher than 45 degrees will activate the deep hip flexors, decreasing the abdominal contraction.
Overuse of the hip flexors can cause overextension of the lower
spine and is associated with increased risk of lower-back injury.
Do not increase your repetitions unless you are able to maintain
control and alignment.
Muscles Involved
Rectus abdominis, anterior fibers of the external oblique
Dance Focus
The firm center emphasized in this chapter is
not only important for injury prevention, but
it is also quite appealing. But remember that
you are doing this work to improve your dance
technique. Strength in the rectus abdominis can
also provide you with more thoracic mobility.
The stronger this portion of your trunk is, the
more range of motion you will have in your
upper body. If you perform choreography that
requires you to flex your trunk but maintain a
neutral position of the pelvis, you will need to
visualize the attachments along the fifth, sixth,
and seventh ribs as well as the sternum pulling
and shortening vertically to round your spine.
If you are required to hold that position and
possibly lift a prop or a partner, you will need
even more strength and muscle tone. Allow
this muscle to provide power for trunk flexion
as well as eccentric length for the back of your
spine. Don’t allow the movement to compress
your spine; think more about your spinal muscles lengthening and pushing you along.
E4776/Haas/Fig.4.06b/339355/Milner/R1
61
Oblique Lift
Rectus
abdominis
External
oblique
Internal
oblique
Execution
E4776/Haas/Fig.04.06a/339356/Milner/R2
1. Lie on the floor with your feet raised off the floor so that the knees
and hips form a 90-degree angle. Place your arms in a basic ballet first
position. Establish your neutral position and relax the back of your
neck. Check that your ribs have not opened, causing your upper back
to extend.
2. As you exhale, curl your trunk as you did in the previous exercise. Add
rotation to the left, moving your waist along your transverse plane.
Continue lengthening through the spine, opening through the shoulders and chest. Allow your left arm to move along the outside of your
left thigh and your right arm to move in between both legs. Focus on
the oblique muscles elevating and rotating your trunk.
3. Hold that rotation. Reemphasize the pelvis anchoring to the floor. As
you inhale, slowly return to starting position with control. Repeat on
the other side. Perform the movement 8 to 10 times on each side;
work up to 3 sets of 8 to 10 on each side.
SAfety tip Avoid twisting the pelvis, which can cause you to
lose stability in the lower segments of the spine. Twisting of the
pelvis lessens the oblique contraction and increases the possibility of arching or extending the lower spine.
62
Muscles Involved
Rectus abdominis, external oblique, internal oblique
Dance Focus
All of your turning movements require
power through your torso; strength
throughout the obliques assists you
in accomplishing more refined turns.
Modern choreography involves a lot
of floor work with lateral and rotational motions; fall-and-rise techniques
also need support from the oblique
muscles. Jazz warm-ups that focus on
isolations will be more effective if the
obliques are strong. Each time you perform this exercise, focus on that navelto-spine principle; this will give you the added
support for the lower segE4776/Haas/Fig.04.06b/339357/Milner/R2
ments of your spine as well as a toned waist. Think back to your plumb line
posture; the oblique muscle fibers are in an excellent position to assist with
proper alignment between the thoracic region and the pelvis. They tend to
be overlooked because you give the rectus abdominis so much attention.
Balance your exercise program to challenge all of the core muscles.
VA r i AT i O n
Advanced Oblique Lift
1. Lie on your left side. Slightly bend the knees and hips. Extend the
left arm along the floor overhead. Rest your head on that arm; the
right arm lies along your side. Locate your neutral position; do not
tuck the pelvis.
2. As you exhale, begin to lift and rotate your trunk. Allow your left
arm to sweep along the floor so both arms can reach over the top
leg. Your trunk will rotate to the right and flex. Do not let your
top hip hike. Maintain that anchored
pelvis with knees on the floor.
3. Hold that position for 2 to 4
counts. Focus on the oblique
fibers shortening to pull you
up. Inhale and slowly return
to starting position with
control. Repeat 10 to 12
times on each side.
E4776/Haas/Fig.04.06c/339358/R2
63
Side Lift
External
oblique
Transversus
abdominis
Internal
oblique
E4776/Haas/Fig.4.07a/339359/Milner/R2
Erector spinae
Quadratus lumborum
Multifidi
E4776/Haas/Fig. 04.07b/342478/Milner/R2
Execution
1. Lie on your right side with your legs extended and stacked on top
of each other. Your upper body is raised but supported by your right
elbow. Allow the right forearm to be placed forward and your left arm
rest on your side. Focus on your core; feel your center and your balance. Keep the shoulders down.
2. Inhale to prepare. As you exhale, pull the right shoulder blade down;
activate your trunk muscles and elevate your hips. Focus on your
center; work within your frontal plane to locate your balance. Maintain this position for 2 to 4 counts.
3. As you inhale, return to the starting position with control. Do not
allow gravity to drop you to the floor. Feel your navel pulling in
toward your spine for security.
SAfety tip Avoid sinking into the shoulder joint of the supporting arm. Maintain a lifted feeling in your trunk as you press
the supporting shoulder blade down.
64
Muscles Involved
Transversus abdominis, external oblique, internal oblique, quadratus
lumborum, erector spinae, multifidi
Dance Focus
This is an excellent exercise for your
entire core and really focuses on a firm
foundation. You have changed your
base of support and need more balance skills to maintain control. Any
contemporary style that requires floor
work will have a steady and powerful look if you are able to maintain
security in your center. As you execute
this exercise, visualize the various fiber
arrangements within the abdominals
all around your spine, and feel them
deeply contracting to sustain a secure
spine. Visualize your deep multifidi
firing to maintain stability along each
vertebra. Remember the principle of
axial elongation while maintaining an
intense contraction of the abdominals.
Imagine that you are being lifted by a
partner in this pose. You would need
to maintain an intense contraction to
provide a solid structure for your partner to lift. The timing, coordination,
and strength between you and your
partner would make it an amazing
move.
When you execute this exercise, other muscles
activate, especially the
E4776/Haas/Fig.4.08c/339360/Milner/R1
lower trapezius muscles. Those muscles help you maintain stability around
your shoulder blades. This is discussed in chapter 5.
65
Coccyx Balance
External
oblique
Rectus
abdominis
Iliopsoas
Internal
oblique
Transversus
abdominis
E4776/Haas/Fig4.08a/339361/Milner/R2
Execution
1. Lie on the floor with knees bent and feet placed hip-width apart on
the floor. Place your arms in first position along your sides. Organize
your trunk to find your neutral position; inhale to prepare.
2. As you exhale, feel the deep transversus abdominis muscle engage,
then allow a small posterior pelvic tilt. Raise the trunk and the knees
at the same time while you extend the arms forward.
3. Locate your center; balance the movement with the hip flexor action
and the abdominal contraction; feel lower-back stabilization. Inhale as
you hold for 4 counts.
4. On exhalation, slowly return to starting position with control. Reemphasize abdominal contraction to protect the lower back. Repeat 8 to
10 times.
SAfety tip Perform this exercise only if you have very strong
abdominals. if you have weak abdominal muscles, the hip flexors
will overpower the movement and pull the lower back into extension.
66
Muscles Involved
Iliopsoas, transversus abdominis, rectus abdominis, external oblique, internal
oblique
Dance Focus
A beautiful balance between
abdominal control and hip
flexor strength can help you
defy gravity. The legs can feel
so weighted in an exercise like
this that you end up struggling
to execute, maintain, and complete the movement. The resistance that the legs provide can
pull on your lower spine, putting you at risk for injury; plus,
the movement loses aesthetic
quality. You want to build a coordinated foundation in your trunk. Dance
does not allow you to focus only on one muscle group at a time; it is a colE4776/Haas/Fig.4.09b/339362/Milner/R1
laboration of all muscle groups. You provide
the timing of the collaboration.
As with all challenging dance patterns, don’t let your momentum control
the movement. Organize your power because you must return or move into
another position with control. Truly understanding the benefits of control
will allow you to have the amazing quality of defying gravity.
VA r i AT i O n
Advanced Coccyx Balance
1. Beginning in the same starting position, inhale to prepare.
2. On exhalation, engage the deep abdominals. Activate a small posterior pelvic tilt and elevate the trunk and legs together.
3. Allow both knees to
extend. Locate your balance and reemphasize the
firm center and lowerback control. Inhale for 4
counts.
4. On exhalation, return to
the starting position with
control. Do not collapse
and allow gravity to pull
you to the floor.
E4776/Haas/Fig 4.08c/339363/Milner/R2
67
Modified Swan
Startposition.
E4776/Haas/Fig4.10a/342480/Milner/R1
Pelvic floor
muscles
Quadratus
lumborum
Erector
spinae
Multifidi
Internal
oblique
External
oblique
E4776/Haas/Fig.4.09b/339364/Milner/R2
Execution
1. Lie facedown on the floor. Arms rest on the floor with shoulders and
elbows at 90 degrees. Legs are extended along the floor, slightly
turned out, and just wider than your hips. Lengthen through your
spine; gently squeeze the lower buttocks and sit bones.
2. As you inhale, begin to lift your upper body along your sagittal plane
while keeping the arms along the frontal plane, maintaining the
90/90 position. Feel extension equally throughout the entire spine.
Try to lift the sternum off the floor. Hold for 4 counts.
3. On exhalation, continue the axial elongation and return to starting
position with control. Reemphasize abdominal support and contraction of the pelvic floor. Repeat 8 times.
SAfety tip Lengthen through the back of the neck to avoid
overextending the neck and possibly causing strain. remember to
allow movement to occur along all spinal segments, not just the
lower back and neck.
68
Muscles Involved
Erector spinae, multifidi, pelvic floor muscles, quadratus lumborum, external
oblique, internal oblique
Dance Focus
Spinal extension is seen among
all dance styles. The Swan Queen
shows off her effortless spinal
flexibility, as does the advanced
jazz dancer with the signature
layout. The key is timing and
axial elongation. Before you
move into any type of spinal
extension, remember to elongate
through your entire spine; feel as
though you are growing taller.
Visualize the long, deep multifidi
firing for deep control and the
erector spinae muscles firing to
help you extend your spine. The
strength in your abdominals will
also brace and support your spine
along the front of your body.
This is a beautiful preparation for
arabesque. Visualize the upper
segments of your spine having
individual movement in extension and a beautiful lift in your
chest to create this long arch. Always keep in mind that the breathing will
help you. Inhale as you extend, feeling theE4776/Haas/Fig.4.09c/339365/Milner/R2
abdomen lengthening and the
diaphragm moving down. You will be surprised at how much more range of
motion you can attain. Let the exhalation help you on the return by reemphasizing abdominal anchoring and support from the pelvic floor. You are
set; your foundation is secure and you are ready to show off your effortless
spinal flexibility.
69
trunk twist
Sidebend.
rotation.
Multifidi
External
oblique
Internal
oblique
Gluteus
medius
External
oblique
Quadratus
lumborum
Erector
spinae
Gluteus
medius
Internal
oblique
Execution
E4776/Haas/Fig.4.10/339366/Milner/R3
E4776/Haas/Fig.4.10/342481/Milner/R2
1. Stand with your legs slightly turned out. Arms and shoulders are in
the 90/90 position. Locate your neutral position, creating axial elongation.
2. With inhalation, lift through the center and move into a right side
bend along your frontal plane. Visualize movement throughout the
entire thoracic spine.
3. Continue into upper-body rotation with extension. Let your waist
move along your transverse plane, opening the left shoulder. Allow
your head and neck to follow. Maintain width through the chest and
shoulders.
4. With control, exhale. Engage the abdominals to reverse the movement and return to starting position. Repeat on the other side for a
total of 4 to 6 repetitions on each side.
70
SAfety tip reemphasize lower-back support throughout the
entire exercise to protect the lower segments of your spine.
Muscles Involved
Side bend: External oblique, internal oblique, quadratus lumborum
Rotation: Multifidi, erector spinae, external oblique, internal oblique
Stability: Gluteus medius
Dance Focus
Let this movement broaden your
awareness. Don’t just focus on
how far you can bend to the side;
focus on the articulation through
every vertebra in your spine.
While moving your trunk sideways to the right, you also have
to stabilize your pelvis so your hip
doesn’t hike on the left side. In
jazz warm-ups, you are required
to create isolations, separating
body sections from others. This
exercise promotes that similar skill.
In ballet, the grande cambré en
rond requires effective movement
through your upper back and
stabilization through the pelvis.
Remember your planes of motion;
stay within your frontal plane as
you move to the side. So many
times you have a tendency to let
your lower back arch, open your
ribs, and move forward off the
frontal plane. Visualize the four layers of your abdomen and the various
directions of the muscle fibers creating your brace. The movement becomes
more challenging when your add rotation with
extension. Now you are
E4776/Haas/Fig.4.11c/339367/Milner/R1
moving along your transverse plane; notice how clean and organized the
movement is when you visualize your planes and elongation through the
spine and chest. Notice the beautiful curve your spine is creating.
71
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shoulder girdle
and arms
a p t e
5
A
ll forms of dance require efficient arm work for power, aesthetics, balance,
and momentum. Your arms are vital for turns and changes in direction.
Teachers and choreographers may tell you, “Isolate your arms from your shoulders” and “Keep your shoulders down,” but do you really understand those
cues? The focus of this chapter is efficiency of movement within the shoulder
complex through scapular stability. Once you understand the coordination of
arm movement with the upper body, your shoulders will be more secure so
your arms, elbows, and wrists can move freely with style and grace.
The shoulder joint is an intricate and very mobile joint, and the muscle
control is just as intricate. The elbow and wrist allow for even more detailed
movement to create fluidity when you move your arms from one position to
the next. Strengthening the muscles that control the shoulder will help you
move more from your center. Male dancers need this control for lifting, and
female dancers need it for coordinated movements. Even though the majority
of injuries that you sustain are lower-extremity injuries, the shoulder should
not be forgotten and deserves its own share of the attention.
Bony Anatomy
The bones that make up the shoulder complex are the clavicle (collar bone),
scapula (shoulder blade), and humerus (upper arm). The humerus continues
down to the elbow joint where it meets the radius and ulna. The radius and
ulna continue down to meet the carpal (wrist), metacarpal (hand), and phalanges (fingers). See figure 5.1.
The clavicle bone of the chest forms a joint at the medial portion where it
meets the sternum. The outer end of the clavicle meets a small bony protrusion
called the acromion process of the scapula. The clavicle bones together create
a beautiful line across the front of the sternum and are clearly seen through
the skin. This is typically where instructors will guide you to open the front of
the chest, the remarkable sensation of presenting yourself to the audience.
The scapula is the triangular-shaped bone that glides along the back of your
ribs. It has a shallow socket where the humerus bone inserts; this is called the
glenoid cavity. The scapula has an anterior surface (which lies against the ribs)
and a posterior surface (which has a slightly elevated portion called the spine).
The end of the spine of the scapula becomes the acromion process. There is
one other bony protrusion called the coracoid process, which is important for
its numerous muscle attachments. The scapula itself is an amazing bone; it has
numerous muscle attachments and functions as an anchor for your shoulder.
73
r
C
h
74
Dance anatomy
Radius
Ulna
Humerus
Clavicle
Humerus
Radius
Ulna
Scapula
Clavicle
Sternum
Ribs
Scapula
Ribs
a
b
E4776/Haas/Fig.05.01a/339371/JenG/R2
Figure 5.1
E4776/Haas/Fig.05.01b/339372/JenG/R2
Bones of the shoulder complex: (a) front; (b) back.
Key Joint Motion
Although there are several joints related to the shoulder complex that can
create movement, our focus is on two joints in particular: the scapulothoracic
joint (where the scapula meets the thoracic spine) and the glenohumeral joint
(where the humerus bone meets the glenoid cavity). In its position against
the ribs, the scapula can elevate, depress (travel downward), abduct (move
away from the center), and adduct (move toward the center). This bone can
also curve upward or move in a downward rotational pattern. You have seen
winging of the scapula—this is created by the inside corner of the scapula
protruding outward, giving the upper back a look of having small wings. Some
young, lean female dancers with minor muscular imbalances will display this
winging of the scapula. This happens because of muscle weakness and the
entire scapula not lying in contact with the rib cage.
The glenoid cavity is a ball-and-socket joint that is held together by strong
muscles. This is a relatively strong joint, but it has a shallow cavity—only
one-third to one-fourth of the humeral head fits snugly into the cavity. The
glenohumeral joint is capable of flexion and extension in the sagittal plane,
abduction and adduction in the frontal plane, and internal and external rotation
in the transverse plane. This joint can also move in horizontal abduction and
shoulDer girDle anD arms
75
adduction. Since the glenohumeral joint is not very deep, stability is important
for reducing your risk of injury.
Take a moment to lift your shoulders up and down. Visualize the movement occurring at each scapula and the ribs. Move your arms to your sides
and down again along the frontal plane. Visualize the scapular movement
as it lies on the ribs. Rotate your humerus bone within the glenoid cavity;
note the range of motion at this joint. The muscles that create movement
at the glenohumeral joint connect between the humerus and the scapula.
The muscles that allow movement to occur around the scapula connect
between the scapula and the humerus, sternum, clavicle, spine, and ribs.
Strengthening the muscles that attach around the scapula will improve
upper-body placement and shoulder alignment and allow the forces of
energy and extreme range of motion to be distributed more efficiently
through the glenohumeral joint. This will give you better control and help
you move more from your center. The basic warm-up that each dance technique requires is not enough for shoulder stability. This is why there are so
many shoulder exercises included in this chapter; use them for warm-ups
and for strengthening.
The joints between the humerus and the ulna and between the humerus
and the radius work together as a hinge joint. A hinge-plus-rotary movement occurs where the lower ends of the radius and ulna meet the carpal
bones. This allows for pronation (moving the palm down) or supination
(moving the palm up). For some dancers, hyperextension at the elbow
(excessive movement past extension) occurs when the arm and forearm
are in a straight line. Hyperextension can create stress on the ligaments,
especially when falling on an extended elbow. It’s important for you to balance the strength between the elbow flexors and extensors to help control
the motion at the elbow joint. This principle also comes into play with the
numerous bones in the wrist. The scaphoid bone in particular is at risk for
injury during a fall and is difficult to see on an X-ray. Balancing flexibility and
muscle tone along the forearm provides the beautiful fluidity needed for an
elegant port de bras, creative contemporary arm work, strong partnering
skills, and gesturing movements.
Muscle Mechanics
The beauty and style of your port de bras come from balanced and powerful
shoulder musculature. You know how inspiring it is to create unique designs
with your arms, but do you know how to create the designs? Again, understanding which muscles activate will give you a better understanding of that
movement. A better understanding means more quality and less quantity of
movement.
Rotator Cuff
To understand the mechanics, let’s break down the two primary joints that
create movement within the shoulder. The glenohumeral joint is stabilized
76
Dance anatomy
by four deep muscles called the rotator cuff muscles (figure 5.2a). They are
the supraspinatus, infraspinatus, teres minor, and subscapularis. Their attachments connect the humeral head with the scapula and allow for stability, some
rotational movement, and abduction. The supraspinatus, infraspinatus, and
teres minor work together to create an amazing force that keeps the shoulder
joint secure so each time you lift your arms, your humerus bone will not pinch
against the acromion. If the rotator cuff muscles are weak, the force will be
ineffective in creating security for your shoulder joint. This chronic pinching
produces pain and swelling and can lead to a condition called impingement
syndrome.
Scapula
You have learned that the scapula moves in many planes. When the humerus
begins to move, it rises first, followed by the scapula. For example, when lifting your arm into forward flexion, you have approximately 45 to 60 degrees
of glenohumeral movement before the scapula begins to move. When lifting
your arm to the side, you have about 30 degrees of glenohumeral movement
before the scapula moves. The ratio of glenohumeral movement to scapula
movement is 2 to 1. Your shoulder blade and upper arm must work together
within this ratio to keep the humerus bone from pinching against the acromion. If the muscles that connect to the scapula are weak, the scapula will
be ineffective in its job of creating control for your shoulder joint. If you work
on strengthening the following muscles, the scapula will have a better chance
of being the anchor for your arm movements.
Specific muscles play an essential role in upper-body placement and are
responsible for anchoring the scapula and creating efficient movement (figure
5.2a). The trapezius muscle originates at the base of the skull; all cervical and
thoracic vertebrae insert on the lateral clavicle, upper acromion, and upper
scapular spine. The trapezius is divided into upper, middle, and lower segments.
If the upper trapezius is stronger than the other two segments, the shoulders
will elevate, creating tension, imbalance, and fatigue. This tension can throw off
jumps, turns, and balancing combinations. The lower and middle segments of
this muscle are responsible for bringing the shoulder blades down and inward,
creating balance. When you need to pull your shoulders down, think about
gliding the scapulae down. When you are turning, lifting a partner, holding
props, or raising your arms, you can still think about gliding the scapulae down.
The levator scapulae and the rhomboid are muscles located under the trapezius. They originate along various cervical and thoracic vertebrae and insert
into the inside edge of the scapula. Because of the attachment location, these
muscles can elevate the scapula and create downward rotation. The serratus
anterior muscle connects ribs 8 and 9 to the scapula, and the pectoralis minor
connects ribs 2 through 5 to the scapula (figure 5.2b). The levator scapulae
and rhomboid also provide significant movement for the scapula. The winging scapula is related to weakness of the serratus anterior and lower trapezius
muscles.
Anterior view
Sternocleidomastoid
Levator scapulae
Trapezius
Rhomboid minor
Rhomboid major
Subscapularis
Supraspinatus
Infraspinatus
Teres minor
Teres major
Posterior view
a
E4776/Haas/Fig.05.02a/339374/JenG/R2
Pectoralis minor
b
Serratus anterior
E4776/Haas/Fig.05.02b/339377/JenG/R1
Figure 5.2
(a) Muscles of the scapula and rotator cuff. (b) Muscles of attachment.
77
78
Dance anatomy
Glenohumeral Muscles
The muscles that connect the humerus bone to the trunk are responsible for
the larger dynamic movements of your arms. The pectoralis major is the large
muscle in the front of your chest that connects the sternum, clavicle, and
various ribs to the humerus bone (figure 5.3a). The pectoralis major can pull
your arms forward and together. In almost all turning combinations, the arms
will be pulled inward by the pectoralis major. This will generate some of the
coordinated power for the turn.
Coracobrachialis
Middle deltoid
Anterior deltoid
Pectoralis major
a
Latissimus dorsi
Middle deltoid
Posterior deltoid
Teres major
b
Figure
5.3 Glenohumeral muscles: (a) front; (b) back.
E4776/Haas/Fig.05.03a/339376/JenG/R1
E4776/Haas/Fig.05.03b/339379/JenG/R1
The deltoid muscle divides into three sections: anterior, middle, and posterior. Each prospective section creates movement to the front, side, or back.
Hiding under the pectoralis major and anterior deltoid is the coracobrachialis,
a small muscle but still capable of producing shoulder flexion and adduction.
The latissimus dorsi is the large muscle of the back that connects the humerus
to the last six vertebrae of the thoracic spine, the five lumbar vertebrae, the
ilium, the sacrum, and the lower three ribs (figure 5.3b). This muscle creates
adduction, internal rotation, extension, and humerus depression. Now you
can see how significant each muscle of the shoulder complex is, and you can
understand how important it is to balance the strength and flexibility of the
muscles that create all of the detailed and elaborate movements that dance
choreography will put you through.
Arm Muscles
The elbow joint can flex and extend; it is controlled by specific muscles that
create those movements. The biceps brachii flexes the elbow and connects
the scapula with the radius bone (figure 5.4a). The triceps extends the elbow
a
b
Biceps brachii
(long head)
Triceps
brachii
(long head)
Biceps brachii
(short head)
Figure 5.4
Triceps
brachii
(lateral head)
Triceps
brachii
(medial head)
Brachialis
Muscles of the upper arm: (a) biceps; (b) triceps.
E4776/Haas/05.04b/339384/JenG/R1
E4776/Haas/Fig.05.04a/339382/JenG/R1
Brachioradialis
Anconeus
Extensor carpi
radialis longus
Pronator
teres
Extensor carpi
radialis brevis
Palmaris
longus
Flexor carpi
radialis
Flexor carpi
ulnaris
a
Extensor
digitorum
Extensor carpi
ulnaris
b
E4776/Haas/Fig.05.05b/342785/JenG/R1
E4776/Haas/Fig.05.05a/342784/JenG/R1
Figure 5.5 Muscles of the forearm: (a) flexors; (b) extensors.
79
80
Dance anatomy
and the shoulder; it connects the scapula and upper humerus with the ulna
bone (figure 5.4b). The biceps and triceps both have more than one originating attachment referred to as heads. The biceps has two heads of attachments
and the triceps has three heads of attachments. Hiding under the biceps is the
brachialis; it connects the lower humerus with the ulna.
The forearm musculature allows for pronation and supination as well as
flexion and extension of the wrist (figure 5.5). Strengthening these various
small muscles is important for some of the extreme choreography. In some
cases, you are asked to stand on your hands, lift other dancers, and fall on your
hands. Forearm strength is important for holding props and partnering skills.
Many of the various styles of couples dancing require coordinated movements
of the hands and the forearms. The exercises in this chapter will stabilize the
shoulder, elbow, and wrist.
Carriage of Arms
In classical ballet, carriage of the arms is termed port de bras, but in every
dance style carriage of the arms completes the movement. All classical ballet
port de bras should move with fluidity but must incorporate scapular stability.
When the arms move up into a high fifth position, the anterior deltoid and the
pectoralis major are the primary movers; the scapula must stabilize and move in
an upward rotational pattern, not elevate. The serratus anterior and the lower
trapezius must activate to allow the balanced movement of the scapula and
humerus. You have a tendency to lift the arms with limited control, allowing
the humerus and scapula to elevate and, in turn, overusing the upper trapezius
muscles. Remember your 2-to-1 ratio; think about stabilizing the scapula and
engaging the lower trapezius and serratus anterior; then allow the humerus
to move freely. This strategy is universal for all dance technique and training.
The contemporary jazz movements that occur in hip-hop choreography would
require the same 2-to-1 principle.
Irish dancers, again, dance primarily with the arms planted neatly at their
sides. Their upper bodies must be secure; their scapulae must be anchored to
their posterior ribs. Since the elbows are fully extended, the triceps must be
strong. To keep the arms securely at their sides, the pectoralis major must hold
firm in an isometric contraction. All of the scapular muscles are contracted to
stabilize the shoulder blades.
Traditional modern dance takes the arms past their normal range of motion.
Your arms will be expected to perform in flexion, extension, internal and
external rotation, and variations of all of these positions. Let’s examine what
happens when you move your arm and shoulder into extension. The posterior
deltoid and the latissimus dorsi contract and the scapula needs to rotate downward and adduct slightly; therefore, the rhomboid and lower trapezius need
to contract. Now you can see how important it is to strengthen the muscles
throughout the upper body.
shoulDer girDle anD arms
81
Dance-Focused Exercise
In most cases, as a dancer, your serratus anterior, rhomboid, and lower trapezius muscles have a tendency to be weak. A lot of exercises in this chapter
have additional repetitions to improve your strength. Do not increase the
repetitions if you are unable to maintain excellent form. Focus on the alignment of the shoulder joint and ease in the neck and upper shoulders. Use the
breathing patterns from chapter 3 to incorporate your core into the exercises.
When breathing, remind yourself to move the ribs in a three-dimensional
pattern. Once you begin to feel stronger, you will find yourself working more
efficiently from your center. Your instructors will also see improvement in how
you incorporate corrections from their cueing.
When you receive a cue similar to “Isolate your arms from your shoulders,”
remember that your scapula has numerous muscular attachments that allow
for control so that the humerus, elbow, and wrist can move freely. When you
hear “Get your shoulders down,” focus less on the upper trapezius and focus
more on the lower trapezius, serratus anterior, and rhomboids. If you are
struggling with what to do with those winging scapulae, focus on exercising
the lower trapezius and the serratus anterior.
External and Internal Rotation
Infraspinatus
Teres minor
external rotation:
start position.
E4776/Haas/Fig.5.06a/339388/Milner/R1
internal rotation: start position.
E4776/Haas/Fig.5.06c/339394/Milner/R1
82
external rotation:
finish position.
E4776/Haas/Fig5.06b/342494/Milner/R1
Subscapularis
internal rotation: finish position.
E4776/Haas/Fig5.06d/342495/Milner/R1
Execution for External Rotation
1. Sit in a chair. Elbows are flexed at 90 degrees and by your sides. Your
forearms are forward with palms facing inward. Hold an elastic band
taut in both hands. Inhale to prepare, and glide the shoulder blades
down.
2. On exhalation, begin to externally rotate your arms against the resistance of the band, keeping your elbows snug against your waist. Hold
for 2 to 4 counts and feel the strength within your shoulder joint.
Open the front of the chest.
3. As you inhale, slowly return with control, keeping the shoulder blades
down. Repeat 12 times, working up to 3 sets of 12.
Execution for Internal Rotation
1. Use the same starting position as for external rotation, but reverse the
resistance band, having the resistance coming from the outside. Inhale
to prepare, keeping the shoulder blades down.
2. As you exhale, pull inward against the resistance of the band. Hold 2
to 4 counts, maintaining elbows at the waist.
3. Inhale to return with control. Repeat 12 times, working up to 3 sets of 12.
Muscles Involved
External rotation: Teres minor,
infraspinatus
Internal rotation: Subscapularis
Dance Focus
Dance classes alone may not provide
enough strength for the rotator cuff.
Extra conditioning will improve the
workings of this joint. While shoulder
injuries are not the most common in
dance, when they occur you will need
treatment, rest, rehabilitation, and
improvement in technique, which will
put your career on hold. The glenoid
humeral joint is already weak because of its shallow
cavity. If you are flexE4776/Haas/Fig.5.06e/339396Milner/R1
ible in this joint as some dancers are, then it is even more important to
improve joint stability. Loads placed on the shoulder in various styles of
dance can be intense; partnering and lifting require strength in all ranges of
shoulder motion. You might also be required to fall onto your hands, taking
full body weight on the arms. When executing any dance movement where
stress is placed through the shoulder, visualize the deep rotator cuff muscles
creating a firm brace for protection. This will allow stability in the shoulder
joint without sacrificing the fluidity needed through the upper body.
83
Wall Press
Rhomboid
Scapula
Serratus
anterior
Trapezius
start position.
E4776/Haas/Fig._5.07a/339399/R2
Finish position.
Execution
1. Stand facing a wall. Lean into the wall with hands wide at shoulder
E4776/Haas/Fig.5.07b/339401/Milner/R1
height; elbows remain straight. Reemphasize
core control, and inhale
to prepare.
2. On exhalation, press against the wall while maintaining straight
elbows. Allow both scapulae to move around the rib cage as if the
outside edges are trying to pull to the front of your body; the upper
back may round slightly.
3. As you inhale, allow the shoulder blades to move back and together.
Movement occurs within the scapular region. Repeat 10 to 12 times,
working up to 3 sets.
Muscles Involved
Protraction: Serratus anterior
Retraction: Rhomboid, mid- and lower trapezius
Dance Focus
In looking at this movement, you might think that this is important only
for male dancers. But actually, weakness in the serratus anterior can cause
scapular winging. Weakness in the rhomboid and lower trapezius muscles
can cause rounded shoulders; both of these misalignments occur frequently
in female dancers as well. If you are an instructor, this information can help
84
you provide important feedback.
By visualizing how the scapula
works as it moves along the rib
cage, you will be able to help your
students with exercises to reduce
the winging and rounded shoulders. It can be so confusing for
dancers to understand corrections
on pulling their shoulders down
when they are not sure what
muscles to use. Focus on sliding
the scapulae down and inward as
if you wanted to drop them into
opposite back pockets. Once you are comfortable with that movement,
widen through the chest and visualize the scapulae lying against the ribs.
Think about moving only the scapulae forward and back, not the spine,
similar to jazz isolations during warm-ups. E4776/Haas/Fig.5.07c/339402/Milner/R1
You are separating the scapulae
from your spine. Always let your breathing help you.
Va r i at i o n
Modified Push-Up Plus
1. Begin in a basic push-up position with the knees on the floor.
Engage core musculature to create stability along your spine. Wrists
should be aligned directly under your shoulders. Glide your scapulae downward toward your
hips.
2. Inhale to prepare, maintaining trunk stability. On exhalation, feel as though you
are pushing the floor away,
engaging the serratus anterior and pulling the scapulae
into protraction around your
start position.
rib cage. Keep the elbows
softly locked.
E4776/Haas/Fig5.07d/342496/Milner/R1
3. As you inhale, let the scapulae move back and try to
pinch them together, emphasizing shoulder retraction.
Maintain trunk stability, and
repeat 10 to 12 times.
Finish position.
E4776/Haas/Fig5.07e/342497/Milner/R1
85
Port de Bras
Anterior
deltoid
Teres major
Pectoralis
major
Execution
Latissimus dorsi
E4776/Haas/Fig.5.08a/339403/Milner/R2
1. Stand firmly with legs hip-width apart, feet either parallel or turned
out. Hold small hand weights in both hands. Locate neutral position
of spine and pelvis.
2. Move the left arm toward a high fifth position while moving the right
arm into shoulder extension. Emphasize scapular stability. Your head
and gaze can follow the top arm. Breathe comfortably throughout the
movement.
3. Hold for 2 to 4 counts. Feel width through the upper chest. Return
with control and repeat on the other side at least 12 times.
86
SAfEty tIP organize your placement to maintain a stable
spine for safety. While executing arm movements, avoid lifting
the chest and extending in the lower back.
Muscles Involved
Shoulder flexion: Anterior deltoid, pectoralis major
Shoulder extension: Pectoralis major, latissimus dorsi, teres major
Dance Focus
Basic ballet emphasizes stylized arm
positions isolated from the shoulders.
The upper back is secure with a light,
lifted effect. The scapula separates
from the shoulder joint, emphasizing the stable body placement. As
the shoulder moves forward, notice
the activation of the anterior deltoid
and the pectoralis major, not the
upper trapezius, which will cause your
shoulder to lift. As the arm moves
down from high fifth, gravity provides the majority of the assistance;
but as your arm moves behind your
body, the shoulder extensors contract. Epaulement provides even more
awareness by slightly twisting the
trunk to give the carriage of the arms
even more dimension. Regardless
of the changing movement through
the trunk, the arms maintain their
elegance by emphasizing scapular
E4776/Haas/Fig.5.08b/339404/Milner/R1
stability. As the arm moves down and to the back, there will be slight internal rotation in the joint. Allow this to occur gently and feel smooth and easy
movement in the joint.
87
Biceps Curl
Biceps
Brachialis
Brachioradialis
Execution
1. While kneeling on your right knee, hold a small hand weight in your
left hand and restE4776/Haas/Fig.5.09a/339406/Milner/R1
your elbow on your left thigh. Inhale to prepare.
2. As you exhale, flex the elbow, holding steady in the upper arm.
Reemphasize scapular stabilization.
3. Hold for 2 to 4 counts. Focus on the fibers of the biceps shortening,
then return slowly with control to starting position. Repeat 10 to 12
times, working up to 3 sets. Start with a light weight and gradually
add weight as you get stronger.
88
SAfEty tIP Do not hyperextend the elbow, which places
added stress on the small ligaments within the joint. Maintain
firmness in the wrist, and avoid hyperextending the wrist and
causing strain in the hand and forearm.
Muscles Involved
Biceps brachii, brachialis, brachioradialis
Dance Focus
The action of elbow flexion is used
often in various dance movements.
Partnering, lifting, falling to the
floor, resistance work with another
dancer, and pantomime movements require various movements
involving elbow flexion. Strength
in the biceps protects the elbow
from hyperextension injuries but
also creates assistance in various
shoulder flexion movements. Holding another dancer is challenging,
especially when her body weight
is completely supported by the
anterior muscles of the shoulder
and forearm. For the partner carrying the weight, it is extremely
important to be able to use the
biceps muscles in coordination with
shoulder stabilization to reduce
risk of injury. Weakness within this
muscle will cause faulty alignment
and overuse of other structures.
For some women who have added
mobility within the elbow joint, muscle strength of the biceps combined
with the elbow extensors will create more security for the joint and reduce
E4776/Haas/Fig.5.09b/339408/Milner/R1
the risks of injury caused by hyperextension in the elbow.
89
triceps Pull
Triceps
Execution
1. Stand with erect posture in a short lunge with legs parallel or turned
out. Hold a small hand weight in each hand. Arms are along your
sides but slightly extended
from the shoulder.
E4776/Haas/Fig.5.10a/339409/Milner/R1
2. Flex the elbows as you inhale. On exhalation, extend the elbows to
continue past the body without fully locking the elbow joints. Hold for
2 to 4 counts; feel the strength and contraction of the triceps from the
scapulae, through the upper portion of the humerus, and to the back
of the elbows.
3. Return to starting position with control. Maintain scapular stabilization. Isolate the humerus during the movement to emphasize shortening of the triceps muscle fibers. Repeat 10 to 12 times, working up to
3 sets. Again, start with light weights and slowly increase the weight.
SAfEty tIP Do not hyperextend the elbow; remember to use
the muscles to support the elbow joint. Hyperextension will
increase stress on the joint ligaments.
90
Muscles Involved
Triceps brachii
Dance Focus
The triceps muscle plays a significant
role in elbow support; it’s involved
in shoulder extension and adduction
as well. The triceps will help you
in the upward phase of pushups, guiding the elbow into safe
extension. Numerous contemporary
combinations use the elbow extensors
to assist you in raising your body
from the floor. The traditional Irish
dance posture must incorporate firm
elbow extension to maintain security
of the elbows with the arms by their
sides. Weakness in this area allows
the elbow to bend and move during
the challenging and quick footwork of that style.
Remember to visualize
E4776/Haas/Fig.5.10c/339411/Milner/R1
the three attachments (the upper humerus, the scapula, and the elbow) to
create stability for the upper arm.
Va r i at i o n
triceps Kickback
1. You can do this exercise
with the upper body in a
flat-back position, legs in a
short lunge for a firm base,
and arms by your sides. This
will add the resistance of
gravity along with the hand
weights.
2. Inhale as you flex the elbows,
keeping the arms by your sides.
Allow no movement along the
humerus bones.
3. Exhale as you extend the elbows,
isolating the contraction of the
triceps. Hold for 2 to 4 counts and
return slowly with control. Repeat 10
to 12 times, working up to 3 sets.
E4776/Haas/Fig.5.10c/339412/Milner/R1
91
Vs
Levator
scapulae
Trapezius
Serratus
anterior
Pectoralis
major
Execution
E4776/Haas/Fig5.11a/339413/Milner/R4
1. Sit in a chair with erect
posture in a neutral position. Arms are by your
sides; palms face the front while holding hand weights. The movement will occur along the frontal plane.
2. As you inhale, begin to lift the arms to the sides into a high V position. Emphasize scapular stabilization, widening through the chest.
Feel axial elongation through the movement. Remain stable in the
pelvis.
3. Hold at the top of the movement for 2 to 4 counts. Reemphasize the
scapulae gliding down and inward toward your hips. Return slowly
with control on the exhalation. Repeat 10 to 12 times, working up to
3 sets.
92
SAfEty tIP Maintain your neutral erect posture. resist
extending or arching through your spine, which means you have
lost core control. Practice elevating your arms without lifting
through the chest and ribs. Maintain a strong connection with the
oblique muscles and the rim of your pelvis as your arms go up.
if lifting the arms without spinal extension is too difficult, try it
with no weights and exhale as the arms go up. Since inhalation
can elevate your chest and facilitate spinal extension, try exhaling
as the arms go up.
Muscles Involved
Upward phase: Middle deltoid, supraspinatus, serratus anterior, trapezius
Downward phase: Pectoralis major, rhomboid, levator scapulae
Dance Focus
This is such a beautiful movement, and
it is seen in all styles of dance. You can
perform this movement with jumps, on
relevé, or with a partner—it’s always
invigorating. Freedom in the shoulder
joint gives this arm movement such
grace. Focus your energy on the scapulae
stabilizing with coordinated upward rotation so the shoulder joints can move with
less effort. Maintain placement through
your center to show off the ability to
isolate the shoulders from the trunk. On
the upward phase, feel width through
the shoulders without tensing the neck
and overusing the upper trapezius. As
you begin to bring the arms down, resist
gravity and feel the strength through the
upper back. Reemphasize deep inhalation on the upward phase and exhalation on the downward phase. Practice
without hand weights while jumping as
the arms move up—this is where you
must control your placement and avoid
arching your spine. Let your arms glide
upward, keeping you in the air as if you
could float over the stage.
E4776/Haas/Fig.5.11b/339415/Milner/R4
93
Rowing
Levator
scapulae
Rhomboid
start position.
E4776/Haas/Fig5.12a/339416/Milner/R3
Trapezius
Execution
1. While seated on the floor
with erect neutral posture, secure a long
E4776/Haas/Fig5.12b/342498/Milner/R3
resistance band around both feet with legs extended out in front.
Cross the band and hold it in your hands; elbows are extended with
arms in front of you.
2. On inhalation, pull against the resistance of the band with elbows
bending at shoulder height and reaching to the back. Feel the scapulae pulling together. Widen through the chest and maintain a firm
center.
3. Hold for 2 to 4 counts. Reemphasize scapular adduction, then with
exhalation slowly return to starting position. Repeat 10 to 12 times,
working up to 3 sets.
SAfEty tIP resist spinal extension. as the arms row back,
reemphasize core control to maintain a stable spine. isolate the
middle and lower trapezius, not the upper trapezius.
94
Muscles Involved
Retraction: Trapezius, rhomboid, levator scapulae
Dance Focus
Moving the arms behind the body is
common in dance; again, maintenance
of scapular control is key to resisting
injury. Freedom in the shoulder and
stability in the upper body allow for
fluidity in all the styles of dance, especially jazz. As the shoulder blades move
into retraction, let this open the front
of the chest and resist compensation
from the trunk. Remember that you are
isolating the muscles that create this
action, so hold your core firm. Vary the
speed of the rowing to simulate varying
tempos; this will create more challenge
for efficient scapular movement as well
as efficient body placement. Your arms
will function more effectively when
you have a firm and balanced upper
body. When you have a strong feeling
of awareness in the ability to perform
rowing without compensation, increase
the resistance of the band to give you more of a challenge. For a variation,
you can repeat this with the elbows pulling back closer to the sides of your
E4776/Haas/Fig.5.12c/339417/Milner/R2
body, emphasizing the lower trapezius muscles. This movement through
your chest and shoulders really shows off your strength and flexibility. Allow
your lungs to truly move in a three-dimensional pattern; you will feel so
empowered.
Variation: rowing with
elbows tight to the body.
E4776/Haas/Fig5.12d/342499/Milner/R1
95
Plank
Serratus
anterior
Trapezius
Pectoralis
minor
Triceps
Pectoralis
major
Execution
E4776/Haas/Fig.5.13a/339418/Milner/R3
1. Begin on your hands and knees. Walk your arms out slowly, maintaining control through your center, until your knees fully extend and
shoulders align directly over the wrists to plank position. Toes remain
in a high relevé position on the floor.
2. Maintain lift in the waist. Feel the scapulae gliding down toward your
hips. Lengthen through the spine and keep your head in alignment
with the spine.
3. Hold this position, breathing comfortably, for a count of 5. Feel the
security in your shoulder joints and the muscles surrounding the scapulae. Slowly walk back to hands and knees with control. Repeat 5 to
10 times.
SAfEty tIP this exercise is advanced and requires firm control in your center. Gravity will pull your lower back toward the
floor, causing extension in your spine, which can be harmful.
avoid arching throughout the spine; rest and reorganize if you are
unable to maintain safe, secure placement.
96
Muscles Involved
Shoulder flexion: Anterior deltoid, pectoralis major
Elbow extension: Triceps brachii
Scapular depression: Lower trapezius, pectoralis minor, serratus anterior
Dance Focus
This is a very challenging
movement requiring strength
throughout the shoulder complex
and the core. As you continue
to gain strength and flexibility,
your physical demands increase
as well. Feel the deep stabilizing
muscles along your back
hugging your spine for support;
remember the bracing effect the
abdominals provide for stability.
Defy the gravity pulling you to
the floor; push the floor away
with your hands to feel strength
through your forearms. The
front fall used in some modern
techniques requires firm upperbody strength and control as well
as core strength. There should
be a moment where the body is
almost suspended in air, before
the hands and arms meet the
floor. Without strength in the shoulder region, the front fall will resemble
an unfortunate accident involving an unstable
fall! Remind yourself that
E4776/Haas/Fig.5.13b/339419/Milner/R1
technique class may not give you the needed strength for the shoulders, so
make time to condition your upper body.
97
Reverse Plank
Rhomboid
Triceps
Latissimus
dorsi
Trapezius
Teres
major
Execution
E4776/Haas/Fig5.14a/339420/Milner/R2
1. Sit with your legs
extended out front. Slightly lean back on your
hands, fingers facing forward. Elbows are in a soft but secure position
aligned over your wrists. Inhale to prepare.
2. On exhalation, actively pull the scapulae downward and engage your
abdominals as you lift your hips to align with the legs. Continue to
feel axial elongation and shoulder and scapular stability. Hold for a
count of 5.
3. As you inhale, slowly return to the floor, resisting gravity. Maintain
control and placement. Repeat 6 to 8 times.
SAfEty tIP Do not allow elbow hyperextension or knee
hyperextension. Maintain a strong isometric contraction throughout your biceps and triceps to avoid overuse of the small elbow
ligaments. Maintain a strong isometric contraction with the hamstrings and quadriceps to avoid overuse of the ligaments in the
knee joints.
98
Muscles Involved
Elbow extension: Triceps brachii
Shoulder extension: Teres major, latissimus dorsi
Scapular adduction: Middle and lower trapezius, rhomboid
Dance Focus
Creative poses like this are exciting and stimulating for audiences because
it’s just not your typical dance move! Executing challenging skills where
the body weight is bearing down into the wrists and hands can be difficult
without significant strength in the upper body to share the load. Think
about distributing the forces throughout the entire hand and forearm to
resist straining the wrist. Push the floor away with the hands to feel more
power in your forearms. As your body begins to elevate, allow the scapulae
to move down to provide more upper-body security; this is typically a
weak area in many dancers. You might feel a wonderful stretch across
the anterior aspect of your shoulder joint; this is the eccentric pull of the
biceps, pectoralis major, and anterior rotator cuff. Don’t forget to breathe;
you may need to focus your breath through the upper rib cage because of
the downward pull of the scapulae and the eccentric lengthening of the
abdominals.
E4776/Haas/Fig.5.14b/339422/Milner/R1
99
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pelvis and hips
a p t e
6
D
ance requires unusual repetitive movement around the hip joint; that
movement demands extreme control. Fast and fancy hip movement is the
signature for spicy Latin dance. Modern dancers have the strength and agility
to work their hips in all planes while shifting weight and still maintaining balance. Tap dancers can move their feet and legs with impeccable speed while
the pelvis holds steady. Ballet dancers show off the height of the développé by
maintaining strength and flexibility in their hips. All dancers need to understand
how the forces of leg movement are distributed through the hip joints and
pelvis. Each dance style requires the thigh to work in parallel and internally
and externally rotated positions at various times. Understanding how your
pelvis works in coordination with your legs can enhance your technique. Your
goal is to achieve the desired movement of your legs without losing control
of your pelvis.
This chapter focuses on understanding pelvic alignment and femur (thigh)
movement. Your pelvis is powerful when organized and balanced. All core
musculature inserts into the pelvic region, and most muscles of the thigh
originate from the pelvic region—this is quite a powerful intersection! Think
about it: Your body’s core musculature inserts into the pelvic region, and your
leg muscles begin at the pelvis. Your pelvis is the link between your trunk and
your legs.
You must learn to move from your center, and your pelvis is the base of
your center. It is made up of the ilium, ischium, and pubic bones on each side
(figure 6.1). The sacrum is discussed as part of this group as well because it
connects the spine with the pelvis. The sacrum is wedged in between the two
pelvic bones at the base of the spine. Your center of gravity actually lies just
in front of your sacrum. To maintain a balance on one foot, you must maintain your center of gravity in a vertical line that passes through your foot to
the floor. Visualize your pelvis and sacrum located over your standing leg for
security in balancing.
Along the side of the pelvis is the acetabulum, or deep hip socket. This is the
cuplike socket where the head of the femur (thigh bone) inserts. Your femur
is the strongest and longest bone in your body. This deep hip socket allows
your femur to lift forward, or extend back into arabesque. The acetabulum
also allows your thigh to battement to the side as well as turn in or out. The
head of the femur angles downward, forming the neck; then it creates two
bony prominences: the lesser trochanter and greater trochanter. The lesser
trochanter is located medially and the greater trochanter is located laterally.
Both of these prominences are important because of the muscles that attach
101
r
C
h
102
Dance anatomy
Ilium
Ilium
a
Sacrum
b
Pubis
Acetabulum
Femur
E4776/Haas/Fig.06.01a/339429/JenG/R1
Figure 6.1
Bones of the pelvis: (a) front; (b) back.
Ischium Pubis Coccyx
E4776/Haas/Fig.06.01b/342786/JenG/R1
at these points. These muscles help create pelvic stability for your standing leg
as well as dance movement for your gesture leg.
Before we continue with alignment and muscles, let’s get familiar with the
term hip disassociation. This term means isolating movement at the hip, separate from the pelvis or spine. Try to tighten the gluteus maximus muscle, and
maintain that tightness while you kick your leg to the front. What happens?
It’s next to impossible to get any height out of the thigh as long as the muscles
of your buttocks remain tight! Now, try it again and lengthen the muscles of
your buttocks as the leg goes up. So, if you understand the principle of the
core musculature inserting into the pelvic region and leg movement starting at
the pelvic region, then imagine moving your thighs at the hip joint only. Think
about executing a large fan kick; an extremely stable pelvis allows the working
leg to relax in the socket to produce fluidity and greater range of motion. The
hip joint can better absorb forces that might be harmful to the lower spine.
When you kick (battement) your leg to the front, the anterior muscles
contract and the posterior muscles release and lengthen eccentrically. Think
back to the discussion of concentric and eccentric muscle work in chapter 1.
Concentric contraction describes shortening of the muscle with contraction,
and eccentric contraction describes lengthening of the muscle fibers but maintaining strength and muscle tone. When you kick your leg to the front, the
gluteus maximus and the erector spinae in your lower back can be trained to
lengthen eccentrically while you engage your core to maintain lower-back and
pelvic stability. Hip disassociation is the ability to isolate movement at the hip
joint independent of your pelvis and spine.
Pelvic Link
You already know that the majority of your injuries occur in the lower extremity. If these injuries are not acute (occurring suddenly), then they are related to
faulty technique. Faulty technique usually occurs from poor alignment in the
pelvis anD hips
103
lower spine and pelvis. The iliopsoas muscle is the magic link that connects the
lower spine and pelvis with the femur. The psoas connects the lower spine to
the femur at the lesser trochanter; the iliacus connects the pelvis to the femur
at the lesser trochanter (figure 6.2). Weakness and tightness can result in misalignments of the lower back and pelvis, which then trickle down to the legs.
For example, the iliopsoas crosses over the hip joint and can cause snapping
as the leg comes down from développé or grande battement. The snapping
usually occurs when the iliopsoas tendon moves over the head of the femur
or the lesser trochanter; it can produce pain and can develop into an injury
that needs to be assessed by a physician. Maintaining strength with turnout
throughout the entire range of motion allows the iliopsoas to function in a
position that reduces the snapping. Maintaining flexibility can also help keep
the tendon from snapping. Typically, the iliopsoas is tight and weak.
The iliopsoas muscle is the major hip flexor; it flexes your hip so you can lift
your leg above 90 degrees. Visualize the location of the iliopsoas as it travels
from the lower spine to the inside of your upper femur. Imagine the muscle
fibers shortening, bringing the femur closer to your trunk. You know that in
order to compete, audition, or simply get better as a dancer, you have to get
your legs up in the air! There is nothing more frustrating than fighting with
your thighs to get your legs up above 90 degrees. (More on that problem in
chapter 7.)
Since the iliopsoas originates on the anterior aspect of the lower-spine vertebrae, when it is tight it will pull your lower spine into extension, which tilts
the front of the pelvis forward. Even if you understand the concept of trying
to hold your pelvis in a neutral position, the movement is next to impossible
because your iliopsoas is tight. Dancing in this anterior pelvic tilt and lowerback arch creates inactivity of the abdominals as well as the adductors (inner
thigh muscles). This anterior tilt position of the pelvis also causes tightness in
the lower-back musculature and creates that shear force against the vertebrae.
This book focuses on dance-specific exercises, but the hip flexor stretch in this
chapter (page 122) is an important addition. This stretch can be done daily.
Try it after your warm-up to encourage effective movement through your hips
before you start your center work. Remember your plumb line from chapter 2
and your core work from chapter 4. Reemphasize engaging your core to locate
your neutral pelvis position. When you get a correction from an instructor like
“Don’t arch your lower back,” sometimes you will overcompensate and tuck
your pelvis under to limit the arch. Tucking the pelvis overworks your gluteus
maximus. And you know what happens when you overwork a muscle: It gets
bigger! Tucking the pelvis also causes tightness in the hamstrings and unusual
pressure on the discs of the lower spine. How can you advance your technique when you are constantly fighting to find your placement? Remember
to create length through your spine; locate your neutral pelvis position while
engaging the deep core to support the lower back. Abdominal strengthening
with iliopsoas and lower-back stretching can help you overcome arching your
back. This reorganization of your placement will allow you to move on and
advance your skills.
104
Dance anatomy
Lateral Hip Power
The gluteus minimus and medius connect the outer surface of the ilium with
the lateral area of the greater trochanter (figure 6.2). These two muscles help
with abduction and hip stabilization. When you perform parallel side lunges or
chassés to the side, the hip abductors are working. The wings that tap dancers
execute to the side work the gluteus minimus and medius. Typically, these two
muscles are very strong in modern dancers because of the numerous side leg
lifts and parallel leg work. Another small muscle called the tensor fasciae latae
connects the outer ilium with the iliotibial band. The iliotibial band runs from
the ilium down the side of the thigh to the lateral femur, patella, and tibia.
a
Iliopsoas:
Psoas major
Psoas minor
Iliacus
Greater
trochanter
Lesser
trochanter
c
E4776/Haas/Fig.06.02a/339430/JenG/R2
Gluteus medius
b
Gluteus minimus
Tensor fasciae
latae
Iliotibial band
E4776/Haas/06.02b/339431/JenG/R1
Figure 6.2 Muscles of the pelvis: (a) front; (b) back; (c) side.
E4776/Haas/Fig. 06.02c/365204/JenG/R1
pelvis anD hips
105
This is a very strong band of fascia that in some aspects may work as an external rotator along with the tensor fasciae latae. Nevertheless, a large portion of
pelvic stability, which you need for your supporting leg strength, comes from
the gluteus medius and minimus. While executing the coupé turn-in and passé
press exercises (pages 110 and 112), visualize the location of the hip abductors
while focusing on maintaining spinal and pelvic stability.
Control of Pelvic Floor Muscles
The pelvic floor muscles form the bottom of the core and are critical in supporting the pelvis. These muscles are overlooked in dance technique for various
reasons. Many instructors are unfamiliar with the function of the pelvic floor
muscles, and dancers are uncomfortable discussing this area. You never hear
an instructor give cues about the pelvic floor in technique classes!
As discussed in chapter 4, the pelvic floor is a series of muscles that line
the base of the pelvis. Remember the pelvic diamond? Visualize the two sit
bones, the pubic bone, and the coccyx bone; visualize the muscles that connect the diamond and form a basin. In a basic modern contraction, the pelvis
rocks posteriorly, and the sit bones of the pelvic diamond move together very
slightly with the contraction of the pelvic floor muscles. On arching the lower
back and tilting the pelvis forward, the sit bones move apart, eccentrically
lengthening those muscles. There is also a very slight movement of the sacrum,
which creates the connection of the diamond from the coccyx to the pubic
bone. For example, a demi-plié in second position should start with the pelvis
in neutral. On the downward phase, the hips disassociate, the sit bones move
away from each other, and the pubic bone and coccyx bones move away from
each other. The opposite occurs on the upward phase. In other words, on the
downward phase the pelvis stays neutral and the diamond widens; on the
upward phase the pelvis continues to stay neutral and the diamond shrinks.
Many of the exercises in this chapter focus on strengthening the pelvic floor
to improve technique.
Rotation of the Femur
The femur must turn in and out to accommodate all styles of dance. There
must be an excellent balance of strength and flexibility between the internal
and external rotators. Deep under the gluteus maximus are six small muscles
that play a large part in turnout and stabilization of the hip joint. The piriformis
muscle connects the sacrum and posterior ilium with the greater trochanter.
The obturator internus and obturator externus connect the ischium and pubic
bone with the greater trochanter. The gemellus inferior and gemellus superior
also connect the lower ischium and sit bones with the greater trochanter. The
quadratus femoris also connects the sit bones with the greater trochanter.
We’ll refer to these turnout muscles as the “deep six.”
Internal rotation of the femur is shared by several muscles, some of which
are discussed in the next chapter. But let’s introduce them now. Two of the
hamstring muscles (semitendinosus and semimembranosus) have the ability
to internally rotate. The anterior fibers of the gluteus medius and minimus, as
106
Dance anatomy
well as the tensor fasciae latae, can assist with internal rotation. Remember
that the femur can work in various directions without tucking or tilting the
pelvis. Excellent hip disassociation skills allow for more effective hip movement and more core stability.
The majority of the turnout must come from movement in the hip socket.
Any time you are required to lift your leg while it’s turned out, initiate the
movement by contracting the deep external hip rotators to fully turn out
within the hip socket. Maintain the muscle contraction through the entire
movement of the leg while other muscles assist. For example, in arabesque,
the deep rotators contract but the gluteus maximus assists as a turnout muscle
to help bring the hip into extension. Without the contraction of the deep six
rotators, your leg would swing back in parallel! When executing plié, allow
the rotators to contract to keep the femurs open along the frontal plane and
aligned over the toes. On the downward phase, the inner-thigh muscles assist
by working eccentrically; on the upward phase, they work concentrically.
Visualize the location of small external rotators as they connect the femur
with the sacrum and lower pelvis. As the muscle fibers contract and shorten,
the femur laterally rotates in the socket. The femur can turn out in the hip
socket without any unwanted movement in the lower back or pelvis, supporting the hip disassociation theory. Practice moving your femur inward and
outward while sitting, lying down, and standing. Focus on movement deep
within the socket only; notice how you don’t need to twist your pelvis or
tuck under to actively rotate your femur in the joint. Just move your thigh,
not your pelvis or spine.
Turnout might be physically challenging for you. Familiarity with femoral
anteversion will help if you struggle with turnout. Anteversion is a term used
to describe the angle of the femur; it means turning forward. This placement in the hip socket causes an abnormal internal rotation of the femur,
or toeing in, making it anatomically difficult to execute turnout for ballet.
This alignment issue causes an anterior tilt of the pelvis. If you try to force
more turnout, you will cause twisting of the knees and rolling in at the foot
and ankle. This placement might be your personal anatomy and might never
allow perfect turnout. If that’s the case, then learn to work within your hip’s
range of motion. Work your feet with less forced turnout and continue to
work the turnout muscles properly from the hip. Femoral retroversion is the
exact opposite. The angle of the femur allows for more external rotation, or
toeing out. This would be more suitable for ballet.
Dance-Focused Exercise
While executing the following exercises, think about maintaining stability
in your pelvis and lower spine, and allow the femur to move freely in the
hip socket. Even though the legs can be directed into so many amazing
moves and angles, you can learn to work the muscles effectively. As one
group of muscles work to create the movement, the opposing side must
lengthen and the core must secure the movement. It’s helpful to inhale on
the preparation and exhale on the movement. While working through the
pelvis anD hips
107
exercises, visualize each muscle’s location. Focus on the muscle action and
how it makes your femur move. To challenge your balance skills, close your
eyes for some of the repetitions. Repeat some of the repetitions at a faster
pace and notice how changes in tempo challenge your stability. Each exercise directly relates to your technique—use the illustrations to learn which
muscles work together.
Plié Heel Squeeze
Quadratus
femoris
Piriformis
Obturator
internus
Obturator
externus
Execution
Gemellus superior
Gemellus inferior
Gluteus
maximus
E4776/Haas/Fig6.03a/339433/Milner/R2
1. Lie facedown in a slight demi-plié position, with your forehead resting
on your hands. Your pelvis must be neutral, not tipped forward with
an arch in your lower back. Heels are touching each other. Inhale to
prepare.
2. On exhalation, coordinate contraction of the deep abdominals and
press the heels together, creating an isometric contraction for the
deep rotators and the lower fibers of the gluteus maximus. Hold this
position for 6 counts.
3. Relax the contraction as you inhale and prepare to repeat. Push and
relax 10 to 12 times.
Safety tiP Avoid arching the lower back, which will shorten
the deep hip flexors and tighten the lower back. Remain in your
natural neutral pelvis with abdominals engaged.
108
Muscles Involved
Obturator internus, obturator externus, piriformis, quadratus femoris,
gemellus inferior, gemellus superior,
lower fibers of the gluteus maximus
Dance Focus
One of your goals is to understand
the principle of hip disassociation and
how it can improve your performance
as a dancer in any style of movement.
Let this exercise help you to focus
on the deep six muscles that externally rotate your legs while resisting
the need to tip your pelvis forward
or backward. Visualize the femurs
working separately from the pelvis.
The strength of the contraction and
shortening of the deep six should give
you the effect of the femurs almost
hovering slightly over the floor without strain in the upper thighs or hip
flexors. Imagine a grande plié where the thighs are directly to the sides. Also
E4776/Haas/Fig6.03b/339434/Milner/R1
imagine a pas de chat where you are completely
turned out along your frontal plane and have a perfectly neutral pelvis.
VA R i At i o n
Supine Plié
1. Lie on your back with your
legs in a slight demi-plié
with heels touching. Outside edges of the feet are
on the floor. Place a soccersize ball under each knee.
Inhale to prepare.
2. Reemphasize neutral pelvis.
On exhalation, gently contract the deep six and press
the thighs into the resistance of the balls. Try not to overrecruit the
E4776/Haas/Fig6.03c/339435/Milner/R1
gluteus maximus and pull your pelvis
into a posterior tilt.
3. Try this several times to organize the contraction equally with both
sides. Hold the contraction for 6 counts; relax with control as you
inhale and prepare to repeat.
109
Coupé turn-in
Tensor
fasciae
latae
Gluteus medius
Execution
E4776/Haas/Fig6.04a/339436/Milner/R3
1. Begin while lying on your right side. Your bottom arm is extended on
the floor overhead; your head rests on the bottom arm. Your top arm
is on the floor in front of you. Locate your neutral position. Your top
leg is placed in a parallel coupé position; the foot is just above the
opposite ankle and the knee is placed on a ball. Organize your trunk
and inhale to prepare.
2. On exhalation, reemphasize stability through the core and pelvis.
Maintain a strong lift along the waistline on the floor. Gently press the
knee into the ball, contracting the internal rotators. Allow the lower
leg to move away from the bottom leg, encouraging more turn-in.
Hold for 6 counts.
3. As you inhale, slowly return with placement. Repeat 10 to 12 times,
working up to 3 sets. Focus on hip disassociation.
Safety tiP Anchor your pelvis by reemphasizing core control.
Avoid any movement in the lower back. this firm base allows for
more fluidity and range of motion in the hip joint and reduces the
risk of injury to the lower back. Avoid pelvic tilt; maintain a natural neutral position with the hip flexed.
Muscles Involved
Anterior fibers of the gluteus medius and minimus, tensor fasciae latae
110
Dance Focus
Strengthening the turn-in muscles is important for maintaining pelvic postural balance.
If you have a tendency to walk while your
legs are turned out, you may have weakness
of the internal rotators; but again, activation
must occur without loss of pelvic stability. As
you’re working in a turned-in position, visualize the front of the thigh turning toward the
midsagittal plane and the head of the femur
gliding in a slightly posterior direction. You
don’t have to compensate and move in your
lower back. Since the gluteus medius and minimus also provide stabilization for the standing
leg, adding turned-in exercises to your fitness
program will give you multiple positive results.
Hip-hop styles of dance that have developed
over the years are exciting to watch and
require strength in internal rotation of the hips,
as do numerous modern movements.
VA R i At i o n
turn-in With Resistance
E4776/Haas/Fig6.04b/339437/Milner/R2
1. Lie on your front with the right knee
bent and left leg extended along the
floor. Place an elastic resistance band
around the outside of your right ankle,
with the band pulled across to the left
side of your body. Steady it by tying it
to a table leg or having someone hold
it for you. Inhale to prepare.
2. On exhalation, internally rotate the
leg against the resistance of the band.
Engage the internal rotators while
stabilizing the pelvis. Try to move
the leg as far as you can while
maintaining an anchored pelvis.
Hold for 6 counts.
3. As you inhale, return the leg
slowly, isolating the internal
rotators and separating the movement from the pelvis. Repeat slowly
E4776/Haas/Fig6.04c/339438/Milner/R2
10 to 12 times. Work up to 3 sets.
111
Passé Press
Gemellus
Obturator
inferior
externus
Gemellus
superior
Piriformis
Obturator
internus
Execution
Gluteus
Quadratus Gluteus medius
minimus
femoris
E4776/Haas/Fig6.05a/339439/Milner/R2
1. Begin on your right side with the bottom arm overhead and your
head resting on it. Your top arm is on the floor in front of you. Place
the left leg into passé position and place the foot on the floor in front
of the bottom leg. The bottom leg must remain turned out. Feel the
outside edge of the left foot against the bottom leg. Reorganize your
trunk by engaging your core to feel an added lift along your right
side, and inhale to prepare.
2. On exhalation, engage the deep abdominals and begin to contract
the deep six rotators, opening the thigh along the frontal plane. Continue the stretch, pressing your leg into the resistance of a partner’s
hand. Hold for 6 counts and slowly return to prepare to repeat 10 to
12 times.
3. As the deep contraction occurs, feel the separation of your thigh from
your pelvis and supporting leg. Keep the turnout working with the
bottom leg as well. Resist twisting of the pelvis—you are moving your
thigh, not your pelvis.
4. To advance this exercise, repeat in a standing position as in the variation.
Safety tiP Maintain trunk stability to support the lower back.
Keep the pelvis level to emphasize the deep rotators and hip
abductors.
112
Muscles Involved
Obturator internus, obturator externus, piriformis, quadratus femoris, gemellus inferior,
gemellus superior, posterior fibers of the gluteus minimus and medius
Dance Focus
As you perform this exercise, visualize the
strength of the passé leg giving you the power
to sail in multiple en dehors pirouettes. Turning requires a coordination of force, balance,
timing, and strength. Even while performing
en dedans pirouettes, you must have an excellent coordinated effort of the working leg
turning out in passé and the standing leg turning out. If you lose turnout in one or the other
hip, the pirouette comes to an unattractive
end. This exercise reinforces the oppositional
work between the passé leg turning out and
the supporting leg turning out and stabilizing
the body.
VA R i At i o n
E4776/Haas/Fig6.05b/3394406/Milner/R1
Resisted Passé
1. From a standing turned-out position while facing the barre, bring
the left leg into a passé as in the illustration above. The right leg
remains secure and turned out. Reemphasize deep external rotators
and deep abdominal muscles for excellent posture.
2. With assistance from a friend as in the illustration on page 112, press
your passé leg into the resistance of her hand while firmly maintaining turnout and stability on the standing leg. Hold for 4 counts.
3. Slowly relax and prepare to repeat. Your goal is to execute stability
all the way down the chain of the supporting hip and leg as well as
isolate the deep six rotators of the passé leg. Repeat 6 times.
Safety tiP Avoid any twisting in the knee of the supporting
leg by reemphasizing the stability of the standing leg and the
turnout muscles of the standing leg.
113
inner-thigh Press
Gracilis
Adductor
longus
Adductor
magnus
Adductor
brevis
Execution
E4776/Haas/Fig6.06a/339442/Milner/R3
1. While lying on your
back with your arms by your sides, lengthen
through your spine and organize your trunk to locate your healthy
neutral position. Flex the hips to 90 degrees and place a ball between
the inner thighs. As you exhale, engage the lower abdominals and
extend the knees so that the legs are straight and elevated off the
floor, maintaining placement of the ball. Secure a position of leg
height that allows your lower spine to remain in neutral.
2. Squeeze the ball within the adductors as you internally rotate and
externally rotate. Repeat the hip rotations and ball squeeze for 6 sets.
3. With inhalation, bend the hips and knees to 90 degrees; relax for a
moment before you reorganize. Repeat for 4 more sets.
114
Safety tiP Avoid arching the lower back; work to stay in a
natural, supported pelvic position by engaging the deep abdominals.
Muscles Involved
Adductor longus, adductor brevis, adductor magnus, gracilis
Dance Focus
Bringing the legs together, crossing positions of the legs, and
jumps that have leg beats in the
air all require fast and firm adductors. The up phase of the plié
requires a concentric contraction
of the adductors, and the downward phase requires an eccentric
contraction of the adductors. In
the lower ranges of leg height,
the inner thighs also help with
hip flexion and extension. Some
of the muscle fibers lie in a position to produce flexion and some
lie in a position to produce hip
extension. Maintaining a balance between the hip abductors
and the hip adductors is another
E4776/Haas/Fig6.06b/339433/Milner/R1
mechanism for pelvic security. You might spend a lot of time stretching
the inner thighs for more flexibility, but it is just as important for you to
strengthen this area as well.
115
arabesque Prep
Semimembranosus
Tendu derrière position.
Biceps femoris
E4776/Haas/Fig6.07a/342505/Milner/R1
Semitendinosus
Gluteus
maximus
90-degree hold.
E4776/Haas/Fig6.07b/342506/Milner/R1
Execution
1. From a standing position with legs hip-width apart, slowly roll down
until the hands are touching theE4776/Haas/Fig6.07c/339444/Milner/R1
floor (inverted-V position). Reorganize
your trunk for balance awareness. Move your right leg into tendu derrière position.
2. As you inhale, move from tendu to arabesque, stopping the movement at
90 degrees. Hold this position for 4 counts as you exhale. On inhalation,
continue to lift the leg as high as you can, focusing on the hip extensors.
3. Hold this position for 4 counts as you exhale. Return with control to
tendu as you inhale. Resist gravity on the downward phase and focus
on eccentric lengthening of the hip extensors. Repeat 3 times parallel
and 3 times turned out on each side.
Safety tiP Maintain abdominal support to avoid uncontrollably arching the lower back.
116
Muscles Involved
Gluteus maximus, biceps femoris, semitendinosus, semimembranosus
Dance Focus
Arabesque can be an amazing movement
to watch and execute. It requires detailed
coordination of hip extension with spinal
extension. In keeping with the principle of
hip disassociation, remember to work the
thigh against the resistance of uncontrolled
lower-back arch and pelvic twisting. Once
you have support from your core, hip extensors, and hip rotators, let that power support any pelvic rotation or anterior tilt as
the leg goes higher. Feel the movement of
arabesque being initiated by the hip extensors along with the eccentric lengthening of
the abdominals to protect your spine. Your
upper body must tilt forward slightly to correlate with the leg elevating. There is a graceful tug of war going on with
the gluteus maximus and hamstrings lifting the thigh
and the anterior strucE4776/Haas/Fig6.07d/339445/Milner/R1
tures of the core lengthening but maintaining control of your lower back. It
is a beautiful example of strength, flexibility, and coordination.
VA R i At i o n
Resisted arabesque
1. Repeat the main exercise but add a resistance band to
the foot of the arabesque leg. The foot of the supporting leg stands on the other end of the band.
2. The resistance band will tighten while moving
from 90 degrees and upward.
3. Reemphasize lumbar control, using the
hamstrings and gluteus maximus for hip
extension. Repeat 3 or 4 times.
E4776/Haas/Fig6.07e/339446/Milner/R1
117
Hip flexor Pulse
Iliopsoas
E4776/Haas/Fig6.08a/339447/Milner/R2
Execution
1. Sit on the floor, leaning back slightly on your hands. Your left leg is
extended, your right knee is bent, and that foot is on the floor. Visualize the iliopsoas deep under the abdominals, and inhale to prepare.
2. On exhalation, move into a small posterior pelvic tilt and bring the
right knee to your chest in parallel. Perform 4 short pulses with the
thigh, maintaining a height above 90 degrees. Focus on the iliopsoas
fibers shortening to elevate your thigh. Feel both ischial sit bones
equally on the floor.
3. Return to starting position with control. Maintain a slight posterior tilt.
Repeat for 4 to 6 sets with emphasis on iliopsoas contraction.
Safety tiP to emphasize pelvic stability and protect the lower
spine, avoid lateral tilt (hip hike) of the working leg.
Muscles Involved
Iliopsoas
118
Dance Focus
Putting power into the iliopsoas will be your
secret to getting those legs up in the air. If
you have flexible hamstrings combined with
strength and awareness of the iliopsoas, you
should be confident that your leg height
will improve. The hip flexor pulse exercise
is the preparation for a better développé
and can be executed with a slight posterior
tilt at first; then you can work into a more
suitable upright posture for dance. Feel the
thigh lifting as high as it can from deep
under the low abdominals, and aim the
thigh to your ribs. Coordinate the lifting of
the right thigh with the dropping of the right
ischial sit bone to stay on the floor; this will
reduce the tendency of the hip to hike up
a bit, which takes the work away from the
iliopsoas and places it into the tensor fasciae
latae and gluteal muscles. Lifting the thigh
demonstrates the concentric contraction, but
you can also hold the leg up for an isometric
contraction to aid in increased power.
V A R i A t i o nE4776/Haas/Fig6.08b/339448/Milner/R1
Hip flexor Hold
1. Begin in the same starting
position. Reverse the breathing pattern; this time, lift
your leg to your ribs with
turnout, feeling the same
strong contraction of the
deep iliopsoas. Inhale as the
leg elevates.
2. Bring your thigh to your ribs.
At the highest point, reach
under your working leg with your E4776/Haas/Fig6.08c/339449/Milner/R1
arm to assist with lifting the
thigh even higher. Hold 4 counts for an isometric contraction.
3. Release your arm but maintain the same leg height. Hold for 4
counts. Exhale and return slowly to the floor. Repeat 4 times.
119
attitude Lift
Turn in.
E4776/Haas/Fig6.09a/339450/Milner/R2
Iliopsoas
Turn out.
Execution
E4776/Haas/Fig6.09b/342507/Milner/R3
Quadratus
femoris
1. Lie on your left side with the left arm overhead and your head resting on that arm.
Elongate through your spine. Engage the
deep abdominals along both sides of
your body. Your top leg begins the exercise in high attitude à la seconde.
2. Breathing comfortably, begin to
slightly turn the thigh inward for 2
counts but remain in attitude. Turn
the thigh out for 2 counts. Repeat
for 2 sets. Remember to separate
the thigh from the pelvis. Move only the thigh, not the spine or pelvis.
3. While turning the thigh out, elevate your thigh toward your shoulder
E4776/Haas/Fig6.09c/342510/Milner/R2
by coordinating the contraction of the deep
low external rotators with
the power of the iliopsoas. Continue the contraction to increase the
turnout of the thigh as the leg goes higher.
Safety tiP Avoid movement of the pelvis; secure the lower spine.
Muscles Involved
Hip flexion: Iliopsoas
External rotation: Quadratus femoris
120
Dance Focus
If you condition your iliopsoas complex
effectively, outside of what any dance
technique class might offer, you can
increase the height of your legs. While
other muscles may be involved in this
exercise, take this time to connect the
deep iliopsoas and deep low rotators.
Notice what happens when you turn your
thigh inward—your hip hikes and the
muscle contraction moves to the outside
of the upper thigh. That is not the place
where you want to work your développé!
Let the turn-in and turnout aspect of the
exercise connect you with the deep low
rotators and the deep iliopsoas. Visualize
how the iliopsoas complex runs from the
lower segments of your spine to the lesser
trochanter of your femur. Now, focus on
the quadratus femoris muscle as it runs
from the outside of the ischial sit bone to
the posterior surface of the femur. When one pullsE4776/Haas/Fig6.09d/339451/Milner/R1
on the femur to lift, the
other pulls on the femur to turn it out. It takes coordination, visualization,
and action of both to execute an amazing développé to the side.
VA R i At i o n
Kneeling attitude Lift
1. Kneel on your left knee. Your right leg is
turned out; the knee is bent and the foot
is on the floor. Inhale and feel the right
thigh turning out deep in the hip socket
with the contraction of the low external
rotator.
2. Slowly begin to lift the thigh toward your
shoulder by activating the iliopsoas. Maintain a strong supporting leg. Do not continue the movement if you are unable to
maintain turnout of the thigh deep inside
the hip—stop, reorganize, and start over.
3. Exhale and slowly return to the floor with
control. Repeat 4 times on each side.
Remember to separate the stable sit bone
from the lifting femur. Move only the thigh, not E4776/Haas/Fig6.09e/339452/Milner/R2
the spine.
121
Hip flexor Stretch
Iliopsoas
Execution
1. Kneel on the right E4776/Haas/Fig6.10a/339453/Milner/R2
knee. Place your left foot forward on the floor
with that knee bent at 90 degrees. Organize your trunk and lengthen
through your spine.
2. Create strong posterior pelvic tilt with the abdominals. While lifting
through the waist, focus on balance skills. The right leg is in slight hip
extension.
3. Begin a long cambré to the left with the right arm overhead. Reemphasize the posterior tilt. Hold the stretch for 45 seconds, taking three
long, deep breaths. Feel lengthening through the anterior hip and
along the right side of your waist. Slowly return and repeat on each
side 3 to 5 times.
122
Safety tiP Place a pad under the right knee for cushioning.
Keep the left knee at a 90-degree angle to avoid compression
forces in the knee joint.
Muscles Involved
Iliopsoas
Dance Focus
Working intensely on the deep hip
flexors may create unwanted tension. Your goal is to isolate the
iliopsoas for lifting the legs above
90 degrees, not to create an overuse syndrome. You might need to
repeatedly stretch the hip flexors
while you work on strengthening
the deep hip flexors. Just remember
that you will receive more benefits
from your stretches if your body is
warmed up. Stretching the front of
the hip is also beneficial for working
the legs in hip extension. Remain
in the posterior tilt for the entire
stretch. If your pelvis begins to compensate and tilt forward, you are
losing the effectiveness of the stretch. As the pelvis
moves into an anterior
E4776/Haas/Fig6.10b/339454/Milner/R2
tilt, you are actually shortening the hip flexors!
123
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legs
a p t e
7
T
he magic of dance reveals itself in the beauty of the legs and feet. All dance
styles show off the capabilities of the legs—they defy gravity and challenge
what is humanly possible. This aesthetic quality is how you communicate with
your audience. You know you must dance with your entire body, but this chapter looks at the anatomy of your legs and focuses on precision. Precision means
the degree of refinement in the movement of your legs. Precise movement
requires accuracy and coordinated speed of the contractions of your muscles.
Let’s continue by exploring the bones and muscles that contribute to the
beauty of your legs. The femur, which is the longest and strongest bone in the
body, angles down from the pelvis to form the top of the knee joint (figure
7.1). It has numerous muscle attachments that help to create the precision of
your dance movements and skills. The knee joint is a hinge joint supported
by strong ligaments. The patella (knee cap) is a free-floating bone within the
tendon of the thigh muscle group (quadriceps femoris) inserting into the tibia.
During flexion and extension, the patella moves in a gliding pattern but is at
risk for injury if there is an imbalance of the quadriceps muscles. Overuse of
the outside of the thigh muscles can lead to an abnormal lateral glide of the
patella on landing from jumps.
The femur is held tightly into the
hip socket, or acetabulum, by strong
ligaments: the iliofemoral, pubofemoral,
and ischiofemoral ligaments. Notice that
their names correlate with the bones
they connect. When you lift your legs
to the front, all three ligaments relax a
Femur
bit in order to give you greater range of
motion. These ligaments become tight
when you lift your legs to the back or
Patella
tuck your pelvis. The iliofemoral ligaTibia
ment, sometimes called the Y ligament
because of its shape, is extremely strong
and therefore contributes to hip stability
and control of body placement. Tightness
Fibula
in this ligament can limit turnout in your
hip. This is why some dancers tilt the
pelvis forward, loosening the Y ligament
Figure 7.1 Bones of the leg.
to enable more turnout.
E4776/Haas/Fig.07.01/339455/JenG/R1
125
r
C
h
126
Dance anatomy
There are four ligaments of the knee joint: the medial collateral ligament
(which connects the femur and tibia), the lateral collateral ligament (which
connects the femur and fibula), the anterior cruciate ligament, and the posterior
cruciate ligament (which cross over each other and connect the femur and
the tibia). These ligaments provide support and can be severely injured when
alignment is compromised, especially when landing from jumps. This relates
to precision of movement: The femur needs to mechanically stay aligned over
the tibia, especially on landing. Any deviation will allow the femur and tibia to
abnormally twist, causing serious stress to the ligaments. The wall sit exercise
on page 132 emphasizes lining the knees directly over the toes while moving
the legs along the sagittal plane.
Muscle Awareness
In chapter 6 we discussed the lateral hip muscles, the deep external rotators,
and the iliopsoas. Now let’s look at the anterior (front), medial (side), and
other posterior (back) leg muscles. The anterior muscles of the thigh are the
quadriceps group. The rectus femoris is the largest muscle of the quadriceps
group, and it runs from the iliac spine to the tibia, crossing the hip joint (figure
7.2a). The other three quadriceps muscles are the vastus medialis, vastus intermedius, and vastus lateralis; notice how their names relate to their locations.
They originate along the inside, outside, and back of the upper femur and
insert into the patellar tendon. All of these muscles flex the hip and extend
the knee. We also include the sartorius muscle, which begins at the
a
upper iliac spine and runs down to
Psoas major
Tensor fasciae
the inside surface of the tibia. This
Iliacus
latae
muscle is the longest in your body,
Pectineus
Sartorius
Adductor
helps to extend the knee, and has
Rectus femoris
longus
a role in turnout. These muscles
Adductor
Vastus lateralis
magnus
are very strong and help you keep
Iliotibial band
Gracilis
the knee of the supporting leg
Vastus medialis
Vastus
straight. They extend the knees on
intermedius
the upward phase of the plié and
complete a développé movement.
The adductors, or inner thighs,
b
Piriformis
begin along different aspects of the
Gemellus
pubis bone and attach along differE4776/Haas/Fig.07.02a/339456/JenG/R1
superior
Gluteus
ent aspects of the medial femur.
maximus
Obturator
They are the adductor longus,
internus
Gracilis
Gemellus
adductor brevis, adductor magnus,
Biceps femoris
inferior
pectineus, and gracilis (figure 7.2b).
Semitendinosus
Quadratus
They adduct your thigh and also
Semimembranosus
femoris
Popliteus
have the ability to bring your leg to
Adductor
magnus
the front and back at lower levels.
Many seasoned ballet dancers beFigure 7.2 Muscles of the leg: (a) front;
(b) back.
lieve the adductors are important
E4776/Haas/Fig.07.02b/339457/JenG/R2
legs
127
for holding their legs in external rotation, especially when both legs are on the
floor. For example, in first position relevé, activating the adductors provides
added pelvic stability and security of turnout.
The hamstring muscles line the back of the thigh. The biceps femoris originates along the ischial tuberosity, or sit bone, and femur and inserts into the
lateral tibia and fibula. The semitendinosus and semimembranosus originate
at the ischial tuberosity and insert into the medial tibia. All of the hamstring
muscles flex the knee and extend the hip. The biceps femoris activates strongly
in arabesque movements. The hamstrings are also important in body placement. If you activate the hamstring muscles and the abdominals while standing, you can coordinate excellent alignment of the pelvis. This effect will allow
the standing leg to be more stable so you don’t have to overuse or grip the
quadriceps muscles.
We must not forget the gluteus maximus. It originates off the posterior surface of the ilium, sacrum, and coccyx bones and inserts into the femur and also
has fibrous attachments along the iliotibial band. Together the gluteus maximus
and hamstrings initiate every swing kick to the back, battement derrière, and
arabesque. The hamstring curl exercise on page 134 focuses on engaging the
deep abdominals while activating the back of the thighs and buttocks. The
gluteus maximus is the strongest hip extensor, and some of the lower fibers
can play a role in external rotation. But note that if you are unable to locate
and use the deep external rotators, you will have a tendency to overuse the
gluteus maximus, tuck your pelvis under, and limit turnout.
Precision of Leg Movement
In chapter 6 we discussed the need to improve extensions, but so many dancers
struggle with overuse of the quadriceps when attempting to lift the legs higher
than 90 degrees. With any leg lifts to the front, especially turned out, the head
of the femur must drop downward as the leg begins to elevate (figure 7.3).
a
b
Movement of the femur in the hip socket.
E4776/Haas/Fig.07.03b/344004/JenG/R3
E4776/Haas/Fig.07.03a/344003/JenG/R1
Figure 7.3
128
Dance anatomy
Visualize the sit bone of the leg that’s lifting reaching downward toward the
floor. The iliopsoas engages to produce a concentric contraction while the
gluteus maximus and lower-back muscles lengthen. The supporting leg must
hold steady by engaging the hamstrings and hip abductors. Anytime you begin
the movement with a hip hike (elevate the hip), you will engage the anterior
fibers of the gluteus minimus, gluteus medius, and tensor fasciae latae, which
will begin to turn your leg inward. The deep external rotators must work to
keep the femur externally rotated throughout the entire range. Don’t forget
the principle of axial elongation from chapter 2: Lengthen through your spine
and engage the core musculature.
If you are performing a développé-type movement, again, the head of the
femur must glide downward and continue to turn out. The knee comes into
the ribs as high as possible, focusing on the iliopsoas. Then you can begin the
concentric contraction of the thighs to straighten the knee. Once you have
tightened the quadriceps, they cannot assist you in creating more elevation—
your développé is finished. This principle is very similar to the movement of
the humeral head of the shoulder complex when lifting the arm.
When your knee is bent, the supporting ligaments loosen, meaning the
stability of your knee depends on the strength of the muscles. As the knee
extends, a small amount of anatomical rotation occurs within the joint. With
this in mind, controlled landings aligning the thighs over the knees and the
knees over the toes allow for less chance of knee injury. Anytime the legs are
coming downward, either from an aggressive kick or a jump, think about
precise control. Your muscles will now need to change course quickly and contract to resist gravity. Returning from grande battement to the front requires
reorganization through the trunk but also requires a concentric contraction of
the hip extensors. The descending battement exercise on page 142 is a great
way to think about control on the return of a movement.
Returning safely and effectively from a jump requires eccentric control
through the quadriceps, hamstrings, and lower-leg plantar flexors, which we
will get into in the next chapter. Remember from chapter 1 that an eccentric
contraction represents the muscles working but lengthening at the same time.
Most of the time the downward phase of movement calls for more eccentric
contractions for control. Your knee is responsible for approximately one-third
of the muscle work on landing. Rolling through the toes and forefoot and into
the heels with eccentric control will soften the landing. The knee and hip can
then bend with control to absorb the rest of the forces. It is important not to
put all of your effort into the takeoff phase and have no control for the landing phase. So many injuries occur while landing from jumps!
Dance-Focused Exercise
Each of the following exercises relates directly to your technique. Think about
moving along the most efficient path. In other words, engage your core musculature for supportive placement, and recruit only the muscles needed for
accomplishing the movement. Unwanted muscle activity will wear you out;
energy conservation allows you to dance longer with precision. For example,
legs
129
you don’t need to overwork your neck and shoulders just to lift your leg to
the back. Overuse of the neck and shoulders is a hindrance, causes fatigue,
and increases injury risks.
Use your new principles of dancing:
1. Plumb line placement for spinal and postural awareness
2. Hip disassociation for thigh movement without spinal or pelvic movement
3. Trunk stabilization to increase controlled movement
4. Effective breathing for engaging core muscles
Of course, it’s a lot to think about, but once you practice new movement
strategies, it will become automatic. Once it becomes automatic, you will stabilize one body part, move freely with another, and enhance your performance.
Short Arcs
Gracilis
Rectus femoris
Vastus lateralis
Adductor brevis
Adductor longus
Adductor
magnus
Pectineus
Execution
1. While lying on your
back, place a foam roller or small roll of towels
E4776/Haas/Fig7.04a/339458/Milner/R2
under your knees, a small ball between your knees, and a 3-pound
(about 1.5 kg) weight around each ankle. Your feet should be flat on
the floor. Recheck your neutral postural alignment. Inhale to begin.
2. As you exhale, coordinate tightening the quadriceps with squeezing
the ball to activate the adductors. Extend both knees and hold that
position for 2 to 4 counts. Return with control.
3. Focus on lifting the lower legs, not bearing down into the foam roller
with the thighs. Repeat 10 to 12 times, then repeat with a quicker
knee extension and a slower return 10 to 12 more times. Gradually
increase the ankle weights to 5 pounds (about 2.5 kg).
SAfeTy Tip To maintain a neutral pelvis, engage the deep
transversus abdominis and avoid iliopsoas contraction. Focus
on the quadriceps. Avoid knee hyperextension, which increases
stress to the posterior knee ligaments.
130
Muscles Involved
Rectus femoris, vastus medialis, vastus lateralis, adductor longus, adductor
brevis, adductor magnus, gracilis, pectineus
Dance Focus
All of the quadriceps are the primary movers for knee extensions,
but for this exercise focus on the
vastus medialis and the adductors.
All of the styles of dance can call for
abnormal movement surrounding
the knee. It seems the more creative and unusual the choreography,
the more attention that movement
gets. With that in mind, strengthen
the quadriceps together with the
adductors to reduce the compressive
forces under the patella. Moving the
knee between the ranges of 0 to 30
degrees reduces the forces of compression while emphasizing excellent
vertical alignment of the patella.
While performing this exercise, think
E4776/Haas/Fig7.04b/339459/Milner/R2
about the lower leg floating up as the thigh contracts or an unfolding of the
knee—this visualization will help with completion of développé. The thigh
muscles lifting the lower leg is the goal, not pushing downward with the
thigh. The Russian pas de chat movement in ballet calls for a strong quadriceps contraction of the leading leg. Whether the pas de chat is large or
small, let the thigh muscles lift the tibia.
Focus on the vastus medialis muscle to minimize the tendency of the
patella gliding in a lateral direction. Also, vary the tempo of the exercise to
simulate jumping: quick on the take-off phase and then slow on the landing phase. The moment the toes reach the floor, the quadriceps must begin
to lengthen and remain strong and toned. Some female dancers have less
quadriceps strength than the average athlete, and some technique or warmup classes do not provide adequate quadriceps training. So get working on
improving thigh strength!
131
Wall Sit
Pectineus
Vastus intermedius
Rectus femoris
Vastus medialis
Vastus lateralis
Semimembranosus
Semitendinosus
Biceps femoris
Execution
1. Stand with your back against a wall. Bring your heels away from the
wall about 2 feet (60
cm). Lean into the wall and place a small ball
E4776/Haas/Fig7.05a/339460/Milner/R2
between the knees. Inhale to prepare.
2. Exhale and perform a parallel demi-plié by sliding down the wall. Feel
your weight placed evenly throughout your foot. Reemphasize pressure through the heel if necessary. Contract the adductors into the ball.
3. Hold that position for 2 to 4 counts, creating an isometric contraction.
Slide up the wall to return. Repeat with a deeper demi-plié, taking the
thighs parallel with the floor. Hold 2 to 4 counts and then slide up the
wall. Repeat the series 4 to 6 times.
132
SAfeTy Tip All natural curves of the spine should remain
intact. Reemphasize neutral spine, not a posterior tilt. To reduce
compression forces in the knee joint, avoid pliés deeper than 90
degrees of knee flexion.
Muscles Involved
Biceps femoris, vastus medialis, vastus intermedius, vastus lateralis, adductor
longus, adductor brevis, adductor magnus, gracilis, pectineus, rectus
femoris, semimembranosus, semitendinosus
Dance Focus
You will notice the challenge
increase when you bend the knees
a little deeper. While parallel or
turned out, grande plié can create
compression under the patella; it’s
a wonderful quadriceps exercise if
your quads are strong enough! As
the plié deepens, the patella moves
from its safe vertical alignment
into a stronger force deeper into
the femur. Know that grande plié
can put approximately 7 times
your body weight directly into the
knee joint. Multiply your weight
by 7, and imagine how much that
is with every grande plié. Maybe
grande plié should be used a little
later in the ballet technique class;
this would allow more time for
the legs to get warmed up. You
will need impeccable quadriceps
strength to execute the hinge of the Horton modern technique, where your
E4776/Haas/Fig7.05b/339461/Milner/R2
body weight is back and your knees and thighs maintain your weight and
stability. The grande cambré lunge in classical ballet calls for deep knee
flexion and a strong quadriceps contraction. Various contemporary styles of
choreography might require bearing all of your weight on your knees while
turning. If you are using this exercise to emphasize alignment of the knees
over the toes, 4 to 6 repetitions might be enough; but if you are looking to
gain strength, repeat this exercise to fatigue.
133
Hamstring Curl
Semimembranosus
Semitendinosus
Gluteus maximus
Biceps femoris
E4776/Haas/Fig7.06a/339462/Milner/R3
Execution
1. While lying facedown, rest your forehead on your hands. Legs are
together and parallel. Bend both knees simultaneously to 90 degrees
and flex the ankles, keeping knees and ankles touching. Inhale to prepare.
2. On exhalation, engage the deep abdominals and lengthen through
the spine. Lift both thighs slightly off the floor, engaging the hamstrings and gluteus maximus. Hold for a count of 4.
3. Lengthen through the front of the hips. Allow the thighs to hover
over the floor just about an inch. Inhale to return with control. Repeat
10 to 12 times.
SAfeTy Tip Reinforce the deep abdominals to protect the
lower spine. This exercise will also engage stabilizing muscles
along the spine. Resist arching the lower back—work to stay in
your natural supported pelvic position.
Muscles Involved
Biceps femoris, semitendinosus, semimembranosus, gluteus maximus
134
Dance Focus
The hamstrings provide support in
perfect body placement, but they
also flex the knee and extend the hip.
They have a two-joint action! Some
dancers have hyperextended knees,
meaning the knees can continue past
full extension because of laxity and a
posterior gravitational torque. If you
activate the hamstrings a little sooner,
they can assist in controlling hyperextension. The hamstrings work for you
each time you execute coupé, passé,
and attitude positions in ballet as well
as barrel turns and stag leaps in jazz.
The biceps femoris also assists with
turnout; you should feel it contract
with attitude derrière and turned-out
arabesque. Try to think about hip
disassociation: Move your thighs to
the back as far as you can without
any movement in your lower spine. Challenge yourself to move the thighs
against the resistance of the pelvis and spine.
E4776/Haas/Fig7.06b/339463/Milner/R3
VA R i AT i o n
Hovering plié
1. Lie facedown in a turnedout demi-plié position, but
maintain a neutral position
of the pelvis. Reemphasize
deep abdominal support
for the lower back. Inhale
to prepare.
2. On exhalation, contract the lower abdominals. Lift both legs slightly
off the floor by engaging the deep rotators and the biceps femoris.
E4776/Haas/Fig7.06c/339464/Milner/R2
Let your legs hover an inch or two over the floor. Emphasize the deep
low external rotators.
3. Hold this position for 2 to 4 counts, then slowly return the thighs to
the floor with control. Repeat 10 to 12 times.
135
Hamstring Lift
Biceps
femoris
Semitendinosus
Semimembranosus
Gluteus
maximus
Execution
E4776/Haas/Fig.7.7a/339225/Milner/R3
1. Lie facedown with your hands under your forehead and legs slightly
turned out (you will later repeat the exercise in parallel). Elongate and
lengthen through the entire spine. Inhale to prepare.
2. As you exhale, focus on the contraction of the hamstrings with the
deep abdominals and elevate one leg; only lift the leg approximately
10 degrees but maintain a neutral position of the pelvis.
3. Feel the hamstrings and abdominals working together against the
resistance of the pelvis wanting to move into an anterior tilt. Hold for
4 counts. As you inhale, slowly return the leg with control. Repeat 12
times turned out and in parallel.
SAfeTy Tip Activate the abdominals and then lift with the
hamstrings. Don’t release in the lower back, letting your momentum carry your leg up without control! This will eventually wear
down the lower segments of your spine and tighten the lower
back, causing an overuse injury.
Muscles Involved
Biceps femoris, semitendinosus, semimembranosus, gluteus maximus
Dance Focus
You have learned that your hamstrings originate at the sit bones. Because
of their connection with the pelvis, weakness can cause ineffectiveness in
pelvic alignment. Think about your plumb line; weakness of the hamstring
complex will allow your pelvis to tilt forward, moving you out of your
136
optimal body placement. A firm balance between the lift of the abdominals and strength of the hamstrings
facilitates a balanced pelvis and lower
back. You need to have extreme flexibility in your hamstrings, but it is also
important to maintain strength. Your
hamstrings help you with arabesque
and powerful jumps. Practice leg lifts
to the back with a new awareness
of engaging abdominals with hamstrings to give you added support. As
the arabesque goes higher, maintain
that low abdominal support and shift
your upper torso forward, emphasizing spinal extension in the upper
back and chest while maintaining
that abdomen–hamstring connection.
The supported hamstring lift variation supports the spine and allows
you to isolate the hamstrings and gluteus maximus without engaging the
E4776/Haas/Fig.7.7b/339226/Milner/R2
spine extensor muscles. The back of your thighs
are fast-twitch muscles that
move your knee and hip through all levels of rapidly changing dance movements. Sometimes the tops of your thighs will overpower your hamstrings.
Keep working on strengthening your hamstrings.
VA R i AT i o n
Supported Hamstring Lift
1. Lay your upper body over a table with your feet on the floor. The
table’s edge is firm against the hip flexors and your hands are under
your forehead. Inhale on the preparation.
2. On exhalation, engage the deep abdomen and lift one leg off the
floor with a straight knee, contracting the hamstrings and gluteus
maximus. Do not allow your pelvis or lower back to move. Hold for
4 counts and return slowly. Repeat 10 to 12 times each side.
start
position.
Finish
position.
E4776/Haas/Fig.2.08c/339227/Milner/R1
E4776/Haas/Fig7.7d/342466/Milner/R2
137
Side Scissor
Adductor
longus
Adductor
magnus
Gracilis
Adductor brevis
Execution
E4776/Haas/Fig7.07a/339465/Milner/R1
1. Lie on your right side with your head on your right arm extended
overhead and left arm on the floor in front of you. Both legs are
extended. Maintain a neutral spine, and maintain lift in the waist on
both sides of your body. Stack knees directly on top of each other.
Inhale to prepare.
2. On exhalation, turn out and lift the top leg, then turn out and lift the
bottom leg. Engage your core musculature to maintain a secure trunk.
If balance is compromised, bring the legs forward slightly by flexing
the hips. Remain in neutral for your spine and pelvis.
3. Execute small inner-thigh pulses. Feel the pelvic floor, deep transversus abdominis, and adductors contracting. Perform the pulses for 10
to 12 counts before slowly returning with control. Repeat the series 3
to 5 times. Increase tempo with each set.
SAfeTy Tip The bottom leg must remain turned out to avoid
compression of the greater trochanter against the floor. Maintain
a deep abdominal contraction for spinal stability.
138
Muscles Involved
Adductor longus, adductor brevis, adductor magnus, gracilis
Dance Focus
Most dancers seem to spend more time
stretching the adductors than strengthening. The gluteus medius and the adductors work together to provide more pelvic
stability. Visualize the originations and
insertions of the inner-thigh muscles; they
line the medial portion of the femur to
connect with the pelvis. Even though they
lose effectiveness at leg heights above
approximately 50 degrees, they are very
active in flexion, extension, and of course
adduction at lower levels. Irish dancers use
the adductors frequently when the legs are
crossed to give the audience an illusion of
seeing only one knee from the front. The
same principle applies when performing
bourrées in ballet: The adductors remain
contracted to cross the legs. Fourth and
fifth position in ballet calls for the inner
thighs to be contracted for pelvic stability,
and jumping combinations with leg beats
require strong inner thighs as well. Practice
the side scissor slowly and with control,
then increase the speed of the leg beats to
improve precision.
E4776/Haas/Fig7.07b/339466/Milner/R1
139
Assisted Développé
Turnin.
Gluteus medius
Turnout.
Tensor fasciae
latae
Gemellus
superior
Gemellus
inferior
Quadratus
femoris
Piriformis
Obturator
externus
Obturator
internus
E4776/Haas/Fig7.08b/342517/Milner/R3
Execution
1. Stand with your left hand on the E4776/Haas/Fig7.08a/339468/Milner/R2
barre. The inside (left) leg lies over
the barre beneath your knee in à la seconde. Organize your placement: Turn out your standing (right) leg and place your right hand on
your shoulder; your left thigh, which is on the barre, must be higher
than 90 degrees.
2. Turn the left thigh inward and outward, noting the hip hike with turnin and the deep low rotators on the external rotation. Repeat 4 times.
3. After completing the last turnout of the thigh, begin to extend or
unfold the knee by lifting the lower leg, not by allowing your thigh to
bear down into the barre. Keep your leg on the barre while engaging
the deep hip external rotators and the iliopsoas.
SAfeTy Tip Avoid twisting in the knee of the supporting leg.
140
Muscles Involved
Internal rotation: anterior fibers of the gluteus medius and minimus,
tensor fasciae latae
External rotation: Obturator internus, obturator externus, piriformis,
quadratus femoris, gemellus inferior, gemellus superior
Knee extension: Rectus femoris, vastus medialis, vastus intermedius,
vastus lateralis, sartorius
Dance Focus
So, you have figured out how to get
your thigh to your chest but then
you start to extend the knee and
the femur starts to drop. You feel
this intense overuse of the quadriceps. Remember, once you have
contracted the quadriceps, they
cannot help you to elevate your
leg any higher—your développé is
done! Visualize your femur glued to
your ribs; increase the deep iliopsoas
contraction to keep your thigh glued
to the ribs, and keep the deep low
rotators contracting very strongly to
maintain turnout of the thigh. There
is a spiraling effect of the thigh in
the hip socket throughout the movement. It might help to remember to
aim your sit bone down toward the
floor and let the outside of the thigh
rotate downward as well. Now, just
lift the lower leg; visualize the tibia,
foot, and ankle floating up; and let
the quadriceps contraction pull to elevate theE4776/Haas/Fig7.09c/339469/Milner/R2
lower leg. It’s important to
keep the iliopsoas contracting and the deep rotators contracting to provide
support to the femur above 90 degrees. Remind yourself to keep turning
out the back of your thigh. You will also notice the supporting-side gluteus
medius help to stabilize your pelvis. Let them all work together to give you
an amazing développé.
141
Descending Battement
Biceps femoris
Semimembranosus
Semitendinosus
Execution
E4776/Haas/Fig7.09a/339470/Milner/R1
1. Lie on your back. Your left knee is bent and your foot is on the floor.
Your right leg begins at 90 degrees of hip flexion and turned out; the
knee is fully extended. Secure one end of an elastic band around the
forefoot; the other end should be stabilized high and behind you.
Inhale to prepare.
2. On exhalation, engage the deep abdominals to secure your lower
back. Bring your leg down with control against the resistance of the
band as if returning from grande battement.
3. Inhale as the leg goes up. Feel as though you are lifting the leg with
the upper inner thigh. Increase speed on the upward phase and keep
it slow and controlled against the resistance on the downward phase.
Reemphasize trunk control with each battement. Repeat 10 to 12
times.
SAfeTy Tip Avoid anterior pelvic tilt or lateral pelvic tilt to
maintain pelvic security. Move only the thigh, not the spine or
pelvis.
142
Muscles Involved
Biceps femoris, semimembranosus, semitendinosus
Dance Focus
Using control when coming down from
high kicks, grande jetés, or traveling
leaps will give your work the look of
defying gravity. Use the band to focus
on the concentric contraction of the
hamstrings as the leg comes down.
Allow the band to give you assistance
as the leg goes back up and maintain
the eccentric lengthening through the
hamstrings and gluteus maximus. Fight
to hold your turnout through the entire
range; it will keep the hip from elevating. At the top of the battement, feel
as though your leg could lengthen;
hover and lift before it slowly begins
to come down. Maintain an anchored
pelvis and reaffirm the principle of hip
disassociation. Remind yourself to turn
out the back of the thigh. This exercise can also be repeated while lying on your side
for à la seconde. While
E4776/Haas/Fig7.09b/339471/Milner/R1
executing these two exercises, close your eyes for a couple of repetitions to
focus on deep transversus abdominis work hugging your spine like a corset.
This is the support you need to be able to move your legs freely.
Variation:side-lyingbattement.
E4776/Haas/Fig7.09c/342518/Milner/R1
143
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Ankles And feet
a p t e
8
S
trong and balanced feet provide the foundation for the whole body.
Knowledge of lower-leg alignment together with core and pelvic
strength will give your feet the power you need in order to be quick and
fearless. As a dancer, you need to have a basic understanding of accurate
alignment and muscle action to improve your technique. There are 26
bones in your foot and 34 joints, thus creating multiple movement possibilities. When bearing weight, any joint movement has a direct relation
to the other joints in your feet. You must be able to dance as a unit with
all joints working in harmony.
Modern, jazz, ballroom, Irish, and most folk dance styles require similar
foot and ankle movements. You must be able to travel quickly on your feet
and rise up on the balls of your feet and the tips of your toes. You might
need to run and jump in heels or pivot and push with bare feet. Tappers,
cloggers, and flamenco dancers do a lot of challenging percussive footwork
that requires intense power. Turning, jumping, pointing, relevé, and plié are
basic skills needed for all dance techniques. Each style requires unusual positions of the feet, not to mention particular footwear that is used more for
aesthetic appearance than for true support. Classical ballet requires extreme
range of motion for pointe work, but this chapter applies to all styles and
the importance of education in anatomy. It’s helpful to know the supporting structures that keep your arches alive and strong. It’s important to know
where ankle stability comes from to reduce the risk of ankle sprains. It’s
also useful to understand basic muscle movement so you can benefit from
strengthening exercises. Quick and fearless feet don’t just happen—they
need training, care, and maintenance.
Bony Anatomy
The malleoli (ankle bones) are the projections at the base of the tibia and fibula
bones. The ankle bones are sites for some of the ankle’s strong supporting
ligaments. The talus bone fits snugly in between the ankle bones and is somewhat responsible for transmitting your weight to the rest of your foot. It meets
the calcaneous (heel bone) in the back and the navicular bone in the front
(figure 8.1). The heel bone provides the base for the attachment of the Achilles tendon, and the navicular bone provides the base for the tibialis posterior
tendon. Both tendons activate to point the foot and ankle. Along the middle
region of the foot are three cuneiform bones and the cuboid, which meet the
five metatarsal bones. This middle region gives you mobility for a beautiful
145
r
C
h
146
Dance anatomy
Calcaneus
Talus
Navicular
Cuboid
Cuneiforms
Metatarsals
Phalanges
Figure 8.1 Bones of the foot.
E4776/Haas/Fig.08.01/339472/JenG/R1
point and firmness for support. The metatarsals meet the phalanges, or toe
bones; flexibility in these joints is needed for the best possible half pointe. All
of the bones in your feet are connected by ligaments and muscle tendons,
which provide support. For the rest of the text we break down the foot into
segments. The forefoot consists of the phalanges and metatarsals; the midfoot
consists of the navicular, the three cuneiforms, and the cuboid. The rearfoot is
composed of the calcaneous and the talus.
The bones in your feet are not organized in a flat formation. The inside
border forms a long arch, which is referred to as the medial longitudinal arch.
When instructors say, “Don’t roll in,” they are usually referring to this arch
of your foot flattening out. Even though the outside border of your foot is
on the floor, it also forms a lateral longitudinal arch. As long as some of your
weight is placed along the outside arch, the inside arch can activate and lift.
The transverse arch runs across from the inside to the outside. This arch creates the striking high instep that so many dancers work for. The arches of
your feet are supported by the bones in your feet. They need to be strong
and active to support your weight, jumping activities, balance poses, and
twisting movements. The arches are also supported by fascia and ligaments.
The fascia is a very tough band of connective tissue on the sole of your foot.
It runs between your forefoot and your heel. Maintaining strength in your
feet will reduce the risk of developing plantar fasciitis, or inflammation of
the fascia. Weakness and tightness within the arches will cause overuse of
the fascia. You can avoid this overuse syndrome by maintaining strength and
flexibility in your feet.
ankles anD feet
147
Foot and Ankle Motion
The ankle joint is capable of pointing and flexing, which in medical terms are
plantar flexion and dorsiflexion. At the highest point of your relevé is a tiny
bit of sideways movement capability, which sometimes helps when you’re
trying to maintain a balanced pose en pointe. The talus sits snugly in a boxlike space. In plié the talus moves slightly to the back, where it fits tight and
provides stability. In some cases, when the demi-plié is too deep, the talus can
come into contact with the base of the tibia. This can cause pain and swelling
and eventually lead to bone spurs. Maintaining strength and eccentric muscle
control in your legs will help keep your plié from causing this impingement.
During demi-pointe, the talus moves slightly forward out of the security of
its space, causing instability. The inversion press, winging, and relevé with ball
exercises in this chapter (pages 156, 158, and 160) focus on ankle support.
Some dancers struggle with a fully pointed position because the back of the
talus bone may have an abnormal bony projection that comes into contact
with the heel bone. This unfortunate posterior impingement limits full-height
relevé, creates an unstable ankle, and leads to a weight-back situation. When
you are unable to transfer your center of gravity completely over your halfpointe or full-pointe position, your body weight will remain too far back. This
incorrect weight placement can create overuse and stress injuries. Working
with your weight back compromises balance and overworks the lower-leg
musculature due to compensation.
The subtalar joint in the rearfoot is located where the talus and calcaneous
meet. This joint allows for adequate pronation in plié and supination in relevé,
whether you are working parallel or turned out. Pronation refers to the inside
arch and talus moving downward, while supination is just the opposite. The
inside arch and talus move slightly upward. This movement is needed for
propulsion in relevé and jumps as well as shock absorption on landing. But
excessive pronation leads to rolling in and undue stress on your arch. Rolling
in sometimes occurs from forcing the turnout at the feet and not using the
deep hip external rotators and adductors.
Good movement through the rearfoot dictates needed movement for the
midfoot. For example, with plié the inner portion of the heel bone will slightly
move inward so the talus can move slightly inward. This small movement has
to happen to open the joints of the midfoot. When the midfoot joints loosen,
flexibility occurs for shock absorption and a soft plié. The exact opposite occurs
for relevé. The heel and talus will slightly lift so the midfoot joints can tighten.
The tightness provides a firm arch for relevé. Strengthening the muscles of
the midfoot region will allow excellent weight transfer onto the first, second,
and third metatarsals when executing relevé. The arches can then become
rigid to help stabilize the relevé.
The joints where the metatarsals meet the phalanges must have significant
strength and flexibility for toe-off during jumping movements. There must
be an eccentric lengthening under the toes on relevé to provide an adequate
base. The eccentric lengthening allows the small muscles under the forefoot
and toes to be long but strong and active. Even in a standing position, your
148
Dance anatomy
toes should be lengthened and your arch musculature activated to provide
a firm anchor. The first exercise, doming (page 152), improves arch support
and reduces the weakness caused by curling of the toes.
Support Ligaments
You probably know a dancer who has had an ankle sprain, a very common
injury. Numerous ligaments are in the foot and ankle, but we will look at five
of the ligaments providing support. The medial ligament complex is called the
deltoid, which originates on the medial malleolus and fans out to attach on
the navicular, talus, and calcaneous bones. This is an extremely strong combination of ligaments that provide vital stability. The spring ligament is also
located on the medial side of the foot and connects the calcaneous with the
navicular bone; it has the principal job of providing a sling for the talus, which
aids in supporting the weight of the body. Weakness or lengthening along this
ligament can cause flattening of the foot.
On the outside of your ankle are three ligaments that together provide stability. These ligaments are not as strong as the deltoid and are usually the first
ligaments to be injured in a lateral ankle sprain. A lateral ankle sprain refers to
an injury in which the sole of the foot turns inward, damaging the supporting
ligaments. The anterior talofibular ligament runs between the talus and the
fibula; when in relevé this ligament moves into a vertical stable position. The
calcaneofibular and posterior talofibular ligaments, as you might guess by their
names, run between the calcaneous, talus, and fibula bones and also help to
maintain critical alignment and ankle stability.
Muscle Mechanics
Foot and ankle action is allowed by 12 intrinsic muscles located within the
foot itself and 12 extrinsic muscles that originate outside of the foot and
have multiple actions. The gastrocnemius is the large muscle that originates
behind your knee and inserts in the calcaneous bone by way of the Achilles
tendon (figure 8.2). Underneath the gastrocnemius is the soleus, which also
connects into the Achilles tendon. The gastrocnemius is a two-joint muscle,
meaning it can flex your knee and point your foot. The soleus can also point
your foot and plays a role in maintaining your balance. Together these are
the two primary movers for relevé and pointing. The soleus is valuable for
rising from half pointe to full pointe and in securing control on landings from
jumps. The seated soleus pump exercise (page 162) offers two variations for
soleus-specific strengthening.
Other muscles that originate in back of the tibia or fibula and assist with
plantar flexion and inversion are the tibialis posterior, flexor digitorum longus,
and flexor hallucis longus. The tibialis posterior inserts mainly into the navicular
bone and provides added support for the inner arch. The flexor digitorum
longus inserts into digits (toes) 2 through 5.
The flexor hallucis longus tendon deserves more attention. This muscle
originates along the back of the fibula. It runs along the back of your lower
leg through a small tunnel beneath the inside ankle bone, and it inserts into
149
ankles anD feet
a
Tibialis anterior
Peroneus
longus
Peroneus
brevis
Extensor
digitorum longus
Extensor
hallucis longus
Peroneus
tertius
b
Deep dissection
Superficial dissection
E4776/Haas/Fig.08.02a/339473/JenG/R1
Tibialis
posterior
Flexor
digitorum
longus
Gastrocnemius
Soleus
Flexor
hallucis
longus
Achilles tendon
Figure 8.2
Muscles of the lower leg and foot: (a) front; (b) back.
E4776/Haas/Fig 08.02b/339474/JG/R1
the base of the big toe. This tendon has many jobs: flexion of the big toe,
push-off power for jumps, and support for the inner arch. Repetitive overuse of the flexor hallucis longus tendon with pointing and relevé can lead
to discomfort and inflammation, which has been called dancer’s tendinitis.
This tendon can also become trapped within the tunnel and cause triggering,
150
Dance anatomy
which can lead to fraying or tearing. It is imperative to strengthen all of the
muscles responsible for pointing to avoid overuse of the flexor hallucis longus
tendon. These exercises are also included in this chapter.
Muscles along the lateral lower leg are the peroneals; they originate at the
upper fibula. One inserts into the fifth metatarsal and one continues under
the foot to insert into the first metatarsal. Their job is to provide strength for
the outside of your lower legs and reduce the risk of lateral ankle sprains.
Along the front of the tibia is the tibialis anterior, extensor hallucis longus,
and extensor digitorum longus. These muscles pull the toes upward and flex
and invert the ankle. All of the extrinsic muscles work to hug your lower leg
to your ankle and provide support.
The soles of your feet are also layered with supportive muscles (figure 8.3).
These intrinsic muscles connect the heel with tarsal and metatarsal bones and
are solely responsible for lengthening the toes. The small muscle supporting
the inner arch that runs from the big toe to the inside of the heel is called the
abductor hallucis; you can train this muscle to activate to provide strength to
the inner-arch area. The big-toe abduction exercise (page 154) can assist you in
strengthening this muscle. Deep muscles are also located between the metatarsals
and phalanges; weakness within these intrinsic muscles can cause clawing of the
toes. The toes must stay lengthened for push-off skills for jumping.
Dance-Focused Exercise
While executing the next series of exercises, visualize the muscles hugging
your ankle for support. Each time you flex or demi-plié, visualize the talus
bone securely in its space for support. Think about energy along all of your
arches. Each time you point your foot, align the second and third metatarsals
with the tibia bone for a perfect line. Remember to lengthen under the toes to
avoid clawing; this will give you a wider base during half-pointe. A wider base
will promote a better platform for balancing. Try to repeat all exercises with
various speeds and work with control throughout the entire range of motion.
Adductor
hallucis
Flexor
hallucis
brevis
Dorsal
interossei
Lumbricals
Plantar
interossei
Flexor digiti
minimi
Quadratus
plantae
Long plantar
ligament
Deep dissection
Intermediate dissection
E4776/Haas/Fig.08.03a/339475/JenG/R1
E4776/Haas/Fig.08.03b/339476/JenG/R1
Abductor
hallucis
Flexor
digitorum
brevis
Abductor
digiti minimi
Superficial dissection
Figure 8.3
Intrinsic muscles of the foot.
E4776/Haas/Fig.08.03c/368727/JenG/R1
151
Doming
Intrinsic
foot muscles
toes up.
E4776/Haas/Fig8.04a/339477/Milner/R5
toes
down.
E4776/Haas/Fig8.04b/342519/Milner/R2
Execution
1. Begin while seated. Place your forefoot on a small towel roll and place
your heel on another small towel roll. Use the rolls to balance the
placement of your foot evenly across the metatarsal heads and the
heel.
2. Lift all toes upward without lifting the forefoot off the towel roll.
Reestablish equal weight placement. Lengthen under the toes as you
begin to press them toward the floor.
3. Engage the deep intrinsic muscles throughout your arch and draw the
metatarsal heads toward the heel. The movement is initiated from the
metatarsal phalangeal joint until the toes are on the floor. Do not curl
the toes; allow the intrinsic musculature to draw the metatarsal heads
toward the heel. Repeat 15 times, working up to 30.
152
Muscles Involved
Intrinsic foot muscles
Dance Focus
Numerous small muscles are
located along the soles of your
feet; they play a significant role
in pointing your feet, in moving
from half pointe to full pointe, and
in pushing off for jumps. Some of
your choreographic requirements
can really take a toll on your feet.
The intrinsic muscles along with
the anatomy of the bones support
the various arches in your feet and
help resist curling the toes. The
intrinsic muscle group must feel
active in order to create support.
Close your eyes and focus on this
specific area of your feet. Visualize the strong fascia along with the
numerous muscle fibers contracting to provide control. Whether
you are dancing barefoot, in pointe
shoes, or in character shoes, the
intrinsic musculature must be strong to give you the power and spring
needed for jumps and pointe work. Some warm-up and basic technique
E4776/Haas/Fig8.04c/339478/Milner/R1
classes provide limited education in this specific
area of your foot. Again, it
is up to you to maintain the quality of your arches by taking extra time to
strengthen your feet.
153
Big-Toe Abduction
Abductor
hallucis
Execution
E4776/Haas/Fig8.05a/339479/Milner/R1
1. Begin seated. Place your feet on the floor, emphasizing equal weight
placement between the metatarsal heads and heel.
2. Try to open the big toe away from the other toes. Hold for 2 to 4
counts and then slowly return. Feel the boost of the medial arch as
the big toe moves.
3. Repeat 10 to 12 times to feel the muscle contraction. Work up to 3
sets of 12.
154
Muscles Involved
Abductor hallucis
Dance Focus
The medial arch should have a
beautiful dome-shaped arch; the
lack of an arch is typically what
instructors focus on when cueing
you to not roll in. Weakness in
the abductor hallucis and laxity
in the ligaments over time will
lead to a flattened medial arch.
Exaggerating turnout from the
feet instead of working turnout
from the hips creates a collapse of the medial arch, which
can lead to numerous injuries.
Placing equal weight along the
lateral arch will assist in organizing the muscles to provide the
correct spring needed along the
medial arch. All dance styles
require constant shifting of body weight, causing
the arches to change
E4776/Haas/Fig8.05b/339480/Milner/R1
form; your arches must be strong enough to tolerate these changes. You
can use this muscle to provide support for your medial longitudinal arch
whether you are dancing barefoot, en pointe, or in character shoes. The
medial arch needs to become rigid and secure in relevé, lengthened but
active in plié, and alive for balancing.
155
Inversion Press
Tibialis
posterior
Execution
E4776/Haas/Fig8.06a/339481/Milner/R2
1. Sit with both knees bent and soles of the feet parallel on the floor.
Place a medium-size ball between your feet in the area of the forefoot.
2. With the heels of both feet remaining on the floor, begin to press the
forefeet into the ball, lifting the inner arches of both feet.
3. As you move your forefeet inward, press into the ball and maintain an
isometric contraction for 2 to 4 counts. Repeat 10 to 12 times, working up to 3 sets.
SAfeTy TIP Avoid overstretching of the outside of the
ankle. Use this exercise to focus on the arch-lifting aspect and
strengthen the inside of the ankle.
156
Muscles Involved
Tibialis posterior
Dance Focus
The tibialis posterior supports
the medial arch and helps resist
pronation. Although the tibialis
anterior also will contract, focus
on the tibialis posterior pulling the
foot inward and lifting the arch.
The talus bone needs to stay in a
relatively neutral position to provide the most stability for the foot
and ankle. There is some natural pronation with
each plié and some natural
E4776/Haas/Fig8.06b/339482/Milner/R1
supination with relevé, but excessive pronation leads to numerous overuse
injuries. In relevé, feel deep support of this tendon by visualizing its many
insertions into the navicular bone and tarsal bones. Maintaining strength of
the tibialis posterior tendon will help provide stability for the foot and ankle
when landing from jumps as well. The foot begins to articulate as it meets
the floor from a jump; the tibialis posterior can help your arch feel lifted,
giving you smoother, more cushioned landings. Vary the tempo with this
exercise: Move into inversion quickly and return slowly, then reverse the
tempo change. This will provide changes in velocity of the muscle contraction, which will simulate challenges and changes in choreography.
VA r i At i o n
Resisted Inversion
1. Wrap a resistance band around
the sole of your foot. Stabilize it
or hold it on the outside of your
foot.
2. Pull the forefoot inward against
the resistance of the band. Continue to move through the full
range of motion.
3. This should be done in a pointed
position and in a flexed position.
Repeat at least 10 times with control, working up to 3 sets.
157
E4776/Haas/Fig8.06c/339483/Milner/R2
Winging
Peroneus
longus
Peroneus
brevis
Execution
E4776/Haas/Fig8.07a/339484/Milner/R3
1. Sit with an elastic band tied together and wrapped around the forefoot.
2. Breathe comfortably and push the forefeet outward against the resistance of the band.
3. Repeat this 10 to 12 times in a pointed position and in a flexed position, working up to 3 sets. Reemphasize control through the full range
of motion.
SAfeTy TIP Avoid creating torque through the knees; isolate
the movement to the feet and the ankles.
158
Muscles Involved
Peroneus longus, peroneus brevis
Dance Focus
The combination of the
muscles along the lateral
lower leg and the tibialis posterior (mentioned previously)
give you support through
the effect of a stirrup. With
excessive range of motion
in relevé, you need security
to avoid twisting your ankle
and damaging the ligaments.
Without adequate strength
of the peroneus muscles, the
ankle will continue to twist,
leaving the joint unstable.
This goes for every style of
dance movement and with
every pointing position,
relevé, push-off, and landing
from a jump. Visualize a stirrup holding your ankle secure
so you are free to point your
foot through extreme ranges.
The majority of injuries that
dancers sustain are to the lower leg and foot; it is imperative that you
strengthen the ankles to reduce the risk of
traumatic injury.
E4776/Haas/Fig8.07b/339485/Milner/R2
159
Relevé With Ball
Gastrocnemius
Soleus
Peroneus
longus
Peroneus
brevis
start position.
E4776/Haas/Fig8.08a/339487/Milner/R2
Execution
1. While facing the barre with your legs parallel, place a small ball
between the heels. Reorganize your trunk to maintain neutral postural
E4776/Haas/Fig8.08b/342548/Milner/R2
alignment. Align the tibia over the second toe.
2. Begin to relevé with gentle pressure against the ball and align the
middle of the talus over the second toe.
3. Hold for 2 to 4 counts before returning with control. Repeat this 15 to
30 times.
SAfeTy TIP to improve ankle support and control, avoid sickling the ankle. Focus on relevé directly over the second and third
metatarsals.
Muscles Involved
Gastrocnemius, soleus, peroneus longus, peroneus brevis
160
Dance Focus
Exercising against your own body
weight will give you even more
awareness and dynamic challenge.
Use this exercise of relevé with the
ball to reinforce the relationship of
the talus and the heel during relevé.
Feel the lateral and posterior lower
leg giving you incredible support.
Try it one time allowing the heels to
supinate just a small amount; notice
that you are unable to hold the ball
and notice how the ankles feel really
unstable. Any traveling movements
involving pivots require power in
order to push off in a horizontal
direction; you will need strength in
the lateral lower leg combined with
strength in the gastrocnemius and
soleus to execute the movement. The
muscles along the outside of your
lower leg also provide strength and
the ability to wing your feet in a coupé-type position. Remember to control
your movements on the landing. You have a tendency to use all of your
efforts and momentum on the upward phase and then let gravity bring you
down. Loss of control on the down phase putsE4776/Haas/Fig8.08c/339488/Milner/R1
you at risk for injury. You
must have adequate strength to be able to recover from an extreme offbalance accident to avoid injury.
VA r i At i o n
eccentrics With Ball
1. Repeat this exercise, except after relevé,
release the forefoot and dorsiflex the foot.
Continue to hold the ball.
2. Slowly lower your body back down with
one foot. Go up with two feet; return
down with one. Reemphasize control on
the way down.
3. Maintain pressure of the ball between
the heels. Alternate legs and repeat 10
to 12 times, working up to 3 sets. Focus
on eccentric strength of the lower legs
as if you are landing from a jump.
161
E4776/Haas/Fig8.08d/339489/Milner/R2
Seated Soleus Pump
Soleus
Soleus
Tibialis
anterior
Heel drop.
E4776/Haas/Fig8.09a/339490/Milner/R2
Execution
Heel lift.
E4776/Haas/Fig8.09b/342549/Milner/R1
E4776/Haas/Fig8.09b/342549/Milner/R1
1. While seated in a chair with your legs parallel, place your forefeet on
a ledge while your heels remain on the floor. Check that your knees
are at a 90-degree angle, and place a small 5-pound weight (about 2
kg) on top of each thigh to give you more resistance.
2. Begin relevé into full range of motion, aligning the second toe with
the center of the talus. Lengthen under the toes and widen the metatarsals.
3. Return to starting position with control. Repeat 15 to 30 times, working up to 3 sets. Engage the deep soleus.
SAfeTy TIP to maintain control and alignment of the tibia
bone and second metatarsal, avoid sickling the ankles.
Muscles Involved
Dorsiflexion: Tibialis anterior
Relevé: Soleus
162
Dance Focus
Landing from jumps with control cannot
be emphasized enough. Strengthening the
lower-leg muscles to control your body
when coming down from relevé, small
jumps, and grande allegro movements
will give you the look of defying gravity
and injury. Soleus pumps require you to
maintain muscular strength as the muscle
lengthens. When your toes first make contact with the floor, there must be a significant amount of articulation to cushion the
landing and a significant amount of muscular endurance to support your body weight
against gravity. The gastrocnemius typically
fires more on the landing phase of jumping,
so strengthening the soleus will provide
better assistance for the gastrocnemius. The soleus muscle also contains
more type I (slow-twitch) muscle fibers, which helps provide awareness for
balance and security of the lower leg on the ankle. E4776/Haas/Fig8.09c/339491/Milner/R1
The soleus helps keep
your body from falling forward when standing and helps maintain balance
whether you are dancing in character shoes or en pointe. Remember that
because of the higher content of type I fibers, the soleus is more resistant to
fatigue; you will need to increase your repetitions to improve strength.
VA r i At i o n
Resistance Band Pump
1. Sit on the edge of a table or hang your leg over the barre so the barre
hits just above the back of your knee. Wrap a resistance band around the
metatarsal heads. Keeping the toes covered, hold the band from above.
2. Without activating your quadriceps, push your foot into plantar
flexion against the
resistance of the band.
You don’t even have
to point your toes; just
point the ankle.
Heel
Heel
3. Alternate flexing and
drop.
lift.
pointing at the ankle
with emphasis on the
deep soleus contraction. Repeat 30 times
or more, working up
to 3 sets.
163
E4776/Haas/Fig8.09e/342550/Milner/R1
E4776/Haas/Fig8.09d/339492/Milner/R1
Toe Isolations
Extensor
hallucis longus
Flexor digitorum
longus
Execution
E4776/Haas/Fig8.10a/339493/Milner/R3
1. Sit on the floor with a resistance band wrapped around toes 2 through
5. Extend your knee, holding the ends of the band in your hands.
2. Allow the big toe to remain in dorsiflexion as you point the other toes
against the resistance of the band.
3. Repeat this 10 to 12 times with the ankle in a pointed position and
the big toe dorsiflexed. Move toes 2 through 5 through the full range
of motion. You can try this one toe at a time as well to isolate the
movement even more.
SAfeTy TIP resist the band’s tendency to curl and compress
the toes. try to lengthen the toes as you point them to work
through the intrinsic muscle group of the forefoot.
164
Muscles Involved
Big toe: Extensor hallucis longus
Toes 2 through 5: Flexor digitorum longus
Dance Focus
Toe isolations make you aware of the need to use toes 2 through 5 because
of their role in pushing you off the floor. You might have a tendency to
overuse the big toe and the flexor hallucis longus for the push-off. Although
the big toe does play a significant role in the push-off phase, you must
allow the other toes to assist. Let the big toe remain in the extended position so you can isolate the movement of plantar flexion for the other toes.
You will also feel the extensor hallucis longus working to maintain the
extension of the big toe. Remember that in most technique classes you
might not do enough to build extra strength in various parts of your body.
There is no progressive resistance in a technique class. While you may execute enough relevés in one class to strengthen your gastrocnemius, it may
not be enough for the toe flexors or extensors.
E4776/Haas/Fig8.10b/339494/Milner/R2
165
Ankle Dorsiflexion
start position.
Tibialis
anterior
Extensor
hallucis
longus
E4776/Haas/Fig8.11a/342551/Milner/R1
Execution
Extensor
digitorum
longus
Peroneus
tertius
E4776/Haas/Fig8.11b/342552/Milner/R2
1. Sit with a resistance band wrapped around your forefoot. Secure the
other end to a stable base in front of you. Begin with the ankle in a
softly pointed position; the band must be taut at the start of the exercise.
2. Lift the toes against the resistance of the band and continue to
increase the resistance by flexing the ankle. Focus on the muscles of
the anterior tibia contracting and the posterior tibia lengthening.
3. Hold the contraction for 2 to 4 counts and slowly return to the starting position. Maintain tautness of the band throughout the entire
range of motion. Repeat 15 to 30 times, working up to 2 or 3 sets.
SAfeTy TIP to avoid sickling or winging of the foot, focus on a
neutral position of the ankle, aligning the second toe with the tibia.
Muscles Involved
Tibialis anterior, extensor digitorum longus, extensor hallucis longus, peroneus tertius
Dance Focus
Keeping the front of the tibia bone strong gives you more security when
having to dance or turn on your heels. Your warm-up includes a significant
amount of relevé and pointing the toes but probably doesn’t include
rocking back on your heels, which some choreographers may want. The
muscles in the back of your lower legs are getting more work than the
muscles along the front. This imbalance can create overuse injuries and
can hold your technique back. More strength along the front of the tibia
bone may also reduce the risk of shin splints. Every grande plié you execute
166
requires contraction
of the tibialis anterior
muscle to support your
tibia bone. This muscle
also works to transfer
your weight forward
to prepare for relevé
and helps to maintain
a nice lift in your arch.
Don’t forget about it
in your conditioning
schedule.
E4776/Haas/Fig8.11c/342553/Milner/R1
VA r i At i o n
Ball Dorsiflexion
1. Sit on a table and rest your foot on the top of a stability ball. Slowly
begin to push the ball forward as the ankle moves into plantar flexion.
2. Allow the foot to point as it stays on top of the ball. You may feel
a gentle stretch along the top of the ankle. Push the ball as far you
can while keeping the toes lengthened and in contact with the ball.
Hold that position for 2 to 4 counts.
3. Slowly begin to reverse the movement, pulling the ankle back into
dorsiflexion while pressing the heel down. Lengthen through the
Achilles and contract the tibialis anterior. Alternate plantar flexion
and dorsiflexion with the assistance of the ball at least 15 times.
You can decrease the size of the ball to make the exercise more
challenging.
start
position.
finish
position.
E4776/Haas/Fig8.11d/342554/Milner/R1
167
E4776/Haas/Fig8.11e/342555/Milner/R1
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whole-body training
for dancers
a p t e
9
T
he field of dance anatomy and research has experienced enormous growth,
which is inspiring for those devoted to the field. Excellent dance medicine
specialists are located throughout the world, and their passion for helping
dancers continues to grow. But the real value in this development benefits
you, whether you are a dancer or a teacher. Ongoing research published in
medical journals gives dance medicine specialists information to assist you. For
example, studies have shown that if you incorporate simple hip flexor conditioning exercises into your daily routine, you can improve the height of your
développé. Research also concludes that overuse of the quadriceps with faulty
turnout can lead to knee pain and injury. Integrating dance-specific exercises
into your training will enhance performance and decrease risks of injury.
Improvement in arabesque could be as simple as strengthening the abdominals and hip extensor muscles while improving movement of the thoracic spine.
Improving turnout could be as simple as understanding good neutral pelvic
alignment while activating the true hip rotators. By incorporating the principles
of body placement, you could improve coordination. When your muscles and
bones are more aligned, you actually need less overall muscle action! Therefore,
you can perform dance movements without straining and overusing muscles.
Small Props
The exercises in this chapter review musculature previously discussed but use
props for added resistance. Dance class uses your own body weight for resistance; this might not be enough effort to truly increase your strength. You will
need to go beyond the training offered in dance class. By adding small apparatus
and resistance tools, you can build strength beyond the limits of gravity, vary
your conditioning plan, and challenge your balance skills. Resistance bands
and free weights have already been introduced, but you can use other props
to improve technique and keep your training interesting.
Performing exercises on a stability ball, minitrampoline, or rotating discs
will increase your body awareness (proprioception). These small props make
the exercises more challenging. Challenging your balance in more extreme
ways can improve overall balance by transferring the sensations to your dance
experiences.
You are able to maintain balance from three sources: visual input from your
eyes, sensory receptors of the inner ear, and receptors in the muscles and
joints that help postural control. Anytime you try to maintain your balance on
an uneven or unstable surface, you challenge your sensory receptors to work
harder. To advance any of the exercises throughout this book, close your eyes
169
r
C
h
170
Dance anatomy
at various times to focus on integration of mind and body. Have you ever lost
your balance when the stage lights suddenly change or go to a blackout? Do
you notice how your balance is weak after an injury? Adolescent growth spurts
can compromise balance as well as cause fatigue. Any abrupt changes in your
sensory systems will weaken proprioception. Training your balance skills will
improve acuity and precision of movement.
Training Specifics
If you’re concerned about fitting all of these exercises into your busy schedule,
focus on a few exercises at a time and slowly incorporate a few into your
warm-up and others into your cool-down. Try taking one concept at a time,
work on it for a week, then gradually add in another. Execute several exercises from the first four chapters every other day and the extremity exercises
on alternating days. Use the exercises to make positive changes in the way
you work.
1. Organize your thoughts to perform each exercise with efficiency. Alignment is essential for precision of movement; it is a whole-body sensation.
Continue to visualize each movement of your dancing along the various
planes of your body. Notice how you can gradually change poor habits
and improve your lines.
2. Maintain spinal stability while releasing unnecessary tension. Improve
your lung capacity by incorporating good breathing patterns while
dancing. Deeper breathing enhances core control and supports moving
from your center. Imagine your breath reaching every muscle in your
body to enhance every movement.
3. Improvement in proprioception includes mind–body integration while
advancing the functional work. Maintain balance awareness while the
base of support changes during various floor exercises. Continue to
focus on postural awareness while moving from the floor to the barre
and into center. Imagine your new balance skills working while you’re
turning, jumping, and balancing in relevé.
4. To gain muscular strength, warm up your body and repeat exercises to
fatigue without compromising alignment. You can increase repetitions
or increase resistance, but vary your speed to correlate with changing
dance tempos. Practice your favorite dance steps with the same attack
and vigor. Repeat basic jump variations to focus more on controlling
the landing. Increase the number of repetitions to improve your cardiorespiratory endurance. To avoid faulty compensations, focus on the
muscle group creating the movement.
Dance-Focused Exercise
The following exercises are full of challenges. You will add props and more fullbody, functional movement. Imagine applying the principles of each exercise
to your specific dance style. Memorize the correct desired movement for the
whole-boDy training for Dancers
171
best results. You are taking your work to the next level, increasing the challenges for the core and your balance.
Your mind is a powerful tool. Be selective with what you focus on. Quiet
your mind so that you can concentrate on the specific area of the body
you are working. Before each exercise, zero in on the starting position and
movement execution while maintaining a feeling of ease. Speak to yourself
using only positive reinforcement! Keep the flow of mental talk inspiring
and optimistic.
Wall Plié
Transversus abdominis
Gemellus superior
Piriformis
Obturator internus
Gemellus inferior
Obturator externus
Quadratus
femoris
Biceps
femoris
E4776/Haas/Fig9.01a/339495/Milner/R2
Execution
1. Place your back against the wall. E4776/Haas/Fig9.01b/342599/Milner/R2
Turn out your legs and place your
feet wider than your hips (feet are aligned according to what your
turnout allows). Place a ball between each thigh and the wall. Inhale
to prepare and maintain a neutral spine and pelvis.
2. On exhalation, press your thighs into the balls by contracting the
deep rotators. Focus on maintaining a neutral pelvis. Align the femurs
over the midtalus and second metatarsals and hold for 2 to 4 counts.
Repeat 8 times.
172
Muscles Involved
Transversus abdominis, biceps femoris, piriformis, gemellus superior, gemellus inferior, obturator internus, obturator externus, quadratus femoris
Dance Focus
Ease in the hips without straining through the trunk allows for
a better turnout. Use the wall
plié exercise to focus on the deep
hip rotators while maintaining a
neutral and secure position of the
pelvis. Memorize the feeling of
true external rotation in the hip
without overuse of the sartorius
or lateral thigh or tilting of the
pelvis. Focus on alignment of the
femur over the second toe; avoid
any torque throughout the knee.
The long line of the tibia should
be placed directly over the center
of your foot. Close your eyes for
a moment and visualize the deep
external obturator as it contracts
and pulls the femur outward to
increase the turnout. Now relax
the rotators. Repeat the detail of
the contraction again until you
feel how firm and supportive this
E4776/Haas/Fig9.01c/339496/Milner/R2
muscle is in rotating your thigh outward. It’s important
to reemphasize hip
disassociation: Let the movement occur in the hip joint so the thighs open
into external rotation while the pelvis and spine are stable.
173
Side Bend With Resistance
Erector
spinae
External
oblique
Internal
oblique
Quadratus
lumborum
Execution
E4776/Haas/Fig9.02a/339497Milner/R2
1. Stand firm and
steady with legs in second position. Hold the ends of
a resistance band in each hand overhead. Feel the weight of the arms
traveling down to your scapulae, and widen the arms enough to provide challenging resistance throughout the exercise.
2. As you begin to inhale, lift and lengthen through the spine. Move
along your frontal plane and bend directly to the right side. Glide the
right scapula downward. Maintain firm resistance with the band. Hold
as you exhale.
3. Flex the left ankle and feel lengthening along that leg. Focus on the
left heel and thigh working together to maintain turnout along the
leg. Reach the left sit bone to the floor. Inhale to return. Repeat 8
times on each side.
174
SafeTy TiP Maintain your neutral body placement to avoid
anterior pelvic tilt, and work to avoid twisting in the knees.
Muscles Involved
Internal oblique, external oblique, quadratus lumborum, erector spinae
Dance Focus
Because of the lack of flexibility along
the thoracic spine, a side bend can be
challenging. The rule of axial elongation
applies throughout the entire length of the
movement. This will create more height
along the spinal column to increase motion
while your head balances with ease on
top. Feel as though you are moving every
vertebra separately to achieve a more flexible but secure spine. Any side bend should
create a long, lifted arch for aesthetics
and for injury prevention. Lengthening
along your spine provides for more space
between the vertebrae and less compression on the discs. Moving directly along
your frontal plane for each cambré side
or side tilt movement will be more efficient and aesthetically pleasing than if you
moved on a diagonal plane. Awakening
the lateral breath movement will give your
spine a flexible but secure quality. Your
pelvis should feel anchored to resist the
trunk’s upward pull. Toward the completion of the side bend, the lower rib cage needs to have a lifted quality as
well. Visualize a half moon and imagine soaring sideways!
E4776/Haas/Fig9.02b/339498/Milner/R2
175
Diagonal Twist
Trapezius
Erector
spinae
Triceps
External
oblique
Multifidi
start
position.
Latissimus
dorsi
Internal
oblique
E4776/Haas/Fig9.03a/339499/Milner/R1
Execution
1. Sit on a stability ball with hips andE4776/Haas/Fig9.03b/342600/Milner/R2
knees flexed at 90 degrees and feet
on the floor. Wrap a resistance band high over the left shoulder; both
hands hold the ends. Your pelvis remains neutral on the stability ball
while your trunk rotates to the left. Hands holding the resistance band
remain aligned with your sternum. Inhale to prepare.
2. On exhalation, engage the deep abdominals, obliques, and scapular
stabilizers to rotate your trunk to the right. The arms pull against the
resistance of the band in a downward right diagonal pattern.
3. Hold this position for 2 to 4 counts. Feel the oblique musculature
working to support your center. Maintain alignment of the hands and
extended elbows with the sternum. Return slowly with inhalation.
Repeat 6 to 8 times on each side.
176
SafeTy TiP Avoid twisting and instability in the lower back by
maintaining awareness of deep abdominal contraction to support
the spine.
Muscles Involved
Latissimus dorsi, lower trapezius, triceps brachii, internal oblique, external
oblique, erector spinae, multifidi
Dance Focus
Coordinating strength in rotational
and spiraling movements requires
strength in the core and deep spine.
To allow for more rotation, release
tension in the neck and shoulders
before the spiral occurs. Remember
to engage the lower abdominals
to secure the lower spine. This will
also allow for more rotation. The
diagonal twist is wonderful for the
ballroom dancer who has been
practicing for hours in upper-back
extension and left trunk rotation.
Remember the obliques are working
for you on both sides; the internal oblique is contracting on the
same side as the rotation, while the
external oblique is contracting on
the opposite side. The same muscle
assistance applies with the deep
erector spinae muscles: While muscles contract to produce movement
on one side, you also have muscles contractingE4776/Haas/Fig9.03c/339500/Milner/R1
on the opposite side. This
reinforces the need to move from your center; you have to initiate spiral
movement from deep in the core and close to the spine.
177
High Kick With Resistance
Iliopsoas
Adductor
longus
Adductor
brevis
Execution
E4776/Haas/Fig9.04a/339501/Milner/R1
1. Begin with the left
hand on the barre and the right leg in a turned-out
tendu position to the side. Tie one end of a resistance band around
the ankle of the right leg and the other end to an immovable object
to the side. Reorganize your neutral placement. Secure the turned-out
supporting leg by engaging the gluteus medius.
2. Bring the leg quickly through first position and cross through fifth into
a battement devant against the resistance of the band holding firmly
along the outside. Coordinate your breathing so that you inhale as the
leg goes up.
3. Initiate the movement from the core and inner thighs in the low
range. Use the brush through first to fifth to emphasize hip adduction, then engage the iliopsoas as soon as possible to elevate the leg.
Return slowly with control.
178
4. Lengthen through the spine and quadratus lumborum. Maintain turnout throughout the entire exercise and repeat 4 times; then repeat 4
more times without the resistance.
SafeTy TiP Avoid lateral hip hike. The trunk muscles want to
pull your pelvis upward. Anchor your pelvis. Move the thigh, not
the pelvis.
Muscles Involved
Adductor longus, adductor brevis
(low level), iliopsoas (higher level)
Dance Focus
Lifting the legs with ease and grace
means no extra adjustments, unnecessary weight shift, or overuse of the
quadriceps. Working effectively the
first time reduces the risk of injury
and improves your technique. The
higher your leg goes, the harder the
deep iliopsoas must contract. Keep
working to maintain turnout as much
as you can. When the working leg
begins to turn in, the anterior fibers
of the gluteus minimus and medius
begin to take over and will elevate
your hip. Visualize the attachment
of the iliopsoas on the inside of the
femur. Initiate the movement from
that area of the thigh and let your leg
float up to your chest. With each leg
lift, lengthen the hamstrings, buttocks, and lower-spine musculature. Train
your inhalation to help elevate your leg and your
exhalation to secure your
E4776/Haas/Fig9.04b/339502/Milner/R1
spine as the leg lowers. Your legs can fly!
179
attitude on Disc
Piriformis
Gemellus
superior
Obturator
internus
Gemellus
inferior
Obturator
externus
Gluteus
maximus
Quadratus
femoris
Semimembranosus
Biceps
femoris
Semitendinosus
Execution
E4776/Haas/Fig9.05a/339503/Milner/R2
1. Face the barre with
the right leg turned out on a disc. Your left leg is
in coupé position. Organize your placement and balance.
2. Coordinate inhalation with hip extension, moving from coupé to attitude derrière. As the leg elevates, there must be a slight accommodating forward shift of your body. Reemphasize the deep rotators turning
out the attitude derrière leg. Engage your deep abdominals to support
the lower spine. Lengthen the thoracic spine into a long arch.
3. Hold for 2 to 4 counts, focusing on the gluteus maximus and hamstrings. With exhalation and control, reverse the movement to return
to coupé. Repeat 8 times on each side.
180
SafeTy TiP Protect your lower spine by engaging the deep
abdominals.
Muscles Involved
Piriformis, gemellus superior, gemellus inferior, obturator internus,
obturator externus, quadratus femoris, gluteus maximus, biceps femoris,
semitendinosus, semimembranosus
Dance Focus
Initiating extension to the back with the
muscles that are primarily responsible for
that movement will improve the quality of your technique. Your arabesques
will improve when you can protect your
lower spine and develop more strength
in the hamstrings and gluteus maximus.
Practice moving your leg to the back and
see how far your leg will go before your
lower spine moves. You might be capable
of only 15 degrees of movement; in that
case, shift forward slightly to accommodate but continue to lift the leg from the
hamstrings and gluteus maximus contraction. Whether you are moving into a low
attitude or a full arabesque, engage the
abdomen to support your spine. Incorporate more movement along your thoracic
spine. As you maintain a strong lift in the
abdomen, visualize the vertebrae in your
midback moving into extension. You have
more movement capabilities in the upper
back and chest area than you think. It’s not
about only arching your lower back. Use
the deep turnout muscles to avoid twisting in theE4776/Haas/Fig9.05b/339504/Milner/R2
pelvis. Remember your
spine is elongated and moving in the longest possible arch. Coordination
and beautiful alignment will also reduce tension in the neck and shoulders.
181
Plank and Pike
start position.
E4776/Haas/Fig9.06a/339505/Milner/R1
Iliopsoas
Transversus
abdominis
Pectoralis
major
Execution
1. Lay the front of your
trunk over a stability ball. Walk your hands out
E4776/Haas/Fig9.06b/342644/Milner/R2
until you reach a plank position with the tibias resting on top of the
ball. Knees are straight and elbows are straight but not locked. Engage
the scapular stabilizers and all trunk stabilizers.
2. On inhalation, initiate the movement with a slight posterior tilt as well
as a deep abdominal and hip flexor contraction to elevate your hips
into a pike. Lengthen through your spine as you pull the ball toward
your chest, pointing your feet.
182
3. Hold this position for 2 to 4 counts with inhalation. Reemphasize
scapular depression and adduction. Slowly return to the beginning
plank position with exhalation. Hold the trunk firm to protect your
spine. Repeat 6 to 8 times.
SafeTy TiP Maintain scapular stability. Avoid winging of the
scapula. Engage the deep abdominals to resist gravity pulling
your spine into extension.
Muscles Involved
Transversus abdominis, iliopsoas, pectoralis major, anterior deltoid
Dance Focus
Some of the most captivating
and challenging choreography comes from dancing on
the hands. That might mean
cartwheels, back handsprings,
push-ups, or falling on one
hand. Regardless of the movement, you must be prepared and
strong. Most dance technique
classes won’t work your upper
body and core sufficiently; it is
up to you to put it all together.
The plank and pike is a fully
integrated mind-to-body skill.
The small postural muscles close
to your spine as well as your
larger muscles contract. Awaken
your breathing skills to assist
with any movement of this kind.
Practice deep lateral inhalation
to prepare yourself and forced exhalation on the movement to support
E4776/Haas/Fig9.06c/339506/Milner/R1
yourself. But if you find yourself losing stability
in the lower back, increase
your lower-abdominal training. If you find you are unable to maintain stability with the scapulae, increase your shoulder exercises. Choreography that
uses plank-type poses is challenging and risky if you are weak. Conditioning
will give you a powerful, accomplished look.
183
Bounding
Rhomboid
Trapezius
Pectoralis
major
start position.
E4776/Haas/Fig9.07a/339507/Milner/R2
Serratus
anterior
Anterior
deltoid
finish position.
Execution
E4776/Haas/Fig9.07b/342645/Milner/R1
1. Begin in a classic push-up position with hands wider than shoulder
width on a minitramp. Legs are extended and feet are on the floor.
Reorganize your trunk for core control. You can also begin with knees
on the floor.
2. While breathing comfortably, bend the elbows with control to initiate
a push-up. Maintain scapular stability.
3. Press into the tramp and push into the air, returning with control.
Repeat 6 to 8 times.
184
SafeTy TiP Maintain lower-back stability with trunk control.
Maintain scapular control and engage the wrist flexors to avoid
hyperextension of the wrists.
Muscles Involved
Pectoralis major, anterior deltoid, serratus anterior, lower trapezius,
rhomboid
Dance Focus
This rebounding exercise is an
excellent way to challenge your
core and shoulders to execute
almost any tricky choreography.
This is also an excellent exercise
for dynamic stability. Bounding on
the trampoline is another form of
resistance training. Your muscles
lengthen under the load in the
down phase (which is the eccentric contraction), followed by a
quick, strong concentric contraction to push you into the air. This
combination can help you develop
greater muscular power. The controlled falls made so famous by the
Graham technique would seem effortless withE4776/Haas/Fig9.07c/339508/Milner/R2
greater muscular power. All
fall-and-recover movements in jazz styles would require less tension if you
had greater muscular power. Training safely with organized reboundingtype exercises will prepare you for the complexity of atypical choreographic
falls.
185
airplane Balance
External
oblique
Rectus
abdominis
Erector
spinae
Internal
oblique
Gluteus
maximus
Biceps femoris
Semimembranosus
Semitendinosus
Gastrocnemius
Soleus
Intrinsic foot
muscles
Execution
E4776/Haas/Fig9.08a/339509/Milner/R4
1. Stand in the middle of the minitramp on one leg in parallel position.
The other leg is in parallel arabesque. Lengthen along your spine and
move into a flat-back position. Bring your arms out to the side.
2. Organize your balance skills and place your weight between the ball
of the foot and the heel. Using the intrinsic muscles of your foot, add
a small demi-plié.
3. Maintain your balance for 10 to 30 seconds. Rest and repeat on each
side 3 times. Breathe comfortably. Release tension in the neck and
shoulders. Use abdominal control and the principle of axial elongation.
186
SafeTy TiP Try this on the floor first before using the trampoline. Balance in a short demi-plié; maintain knee alignment over
the second toe.
Muscles Involved
Rectus abdominis, internal oblique, external oblique, erector spinae
Standing leg: Intrinsic foot muscles, gastrocnemius, soleus,
semimembranosus, semitendinosus, gluteus maximus, gluteus
minimus, biceps femoris
Arabesque leg: Semimembranosus, semitendinosus, gluteus maximus,
biceps femoris
Dance Focus
Improving balance skills can reduce
the risk of injury, relieve unnecessary tension, and improve jumps and
turns. Take a little time each day to
practice balancing. If you don’t have
a minitramp, then balance in the sand
or on a pillow. Find your center and
placement beginning along the arches
of your foot. Align your weight over
the first and fifth metatarsals and the
heel. Feel the deep intrinsics supporting you. Focus on your deep postural
muscles along your spine and down
the leg. When you are truly balanced,
you will actually need less muscular
E4776/Haas/Fig9.08b/339510/Milner/R3
effort, which means more efficient work. Breathe
comfortably through the
balancing process. Let your breathing quiet your center and release tension.
Gather your thoughts and organize your body to maintain a healthy balance
between body, mind, and spirit.
187
Parallel Dégagé
Gluteus
medius
Execution
E4776/Haas/Fig.9.9/339233/Milner/R2
1. Stand with your legs parallel. Loop an elastic band around both ankles
and rest both hands on the barre.
2. Breathing comfortably, begin to move your gesture leg in a series of
parallel dégagés against the resistance of the band.
3. Maintain your stable neutral position by lifting from the waist and
holding your pelvis steady and firm. Feel the gluteus medius of the
gesture leg working against the resistance of the band and the gluteus
medius of the supporting leg helping you maintain a secure pelvis.
4. Begin with 8 to 10 repetitions on each leg. Work up to 3 full sets.
188
SafeTy TiP Maintain stability in the lower back. Do not allow
the resistance of the band to hike up the hip. Isolate the movement at the thigh only.
Muscles Involved
Gluteus medius
Dance Focus
Remember, in order to truly gain
strength you must add resistance training to your conditioning program.
Pelvic stability is another key to improving posture and technique. Let this
exercise help you get in tune with the
outside of your pelvis to assist you in
gaining strength. The gluteus medius
will help you on the supporting leg
with développé and grande battement
work. The gluteus medius also will help
your gesture leg during all side layout
positions, traveling steps to the side,
and jumping combinations. For added
pelvic stability, feel the lengthening
along the spine and squeeze the buttocks together. Focus on separating
your thigh from your lower back, which
will want to move. Feel solid all the
way down the supporting leg. As you
increase the number of repetitions, you also will feel the work along the
hips of the supporting leg and the gesture leg. E4776/Haas/Fig.9.9b/339234/Milner/R2
Although the gluteus medius is the main muscle worked, this exercise
engages the whole body due to its focus on stability.
189
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ExErcisE findEr
spinE
Locating Neutral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Leg Glide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Trunk Curl Isometrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Hip Flexor Isometrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Spinal Brace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Ischial Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
ribs and brEath
Lateral Breathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Breathing With Side Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Breathing With Port de Bras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Thoracic Extension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Breathing Plié . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
corE
Side Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Trunk Curl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Oblique Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Side Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Coccyx Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Modified Swan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Trunk Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
shouldEr GirdlE and arms
External and Internal Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Wall Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Port de Bras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Biceps Curl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Triceps Pull . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
191
192
exercise finder
Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Rowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Plank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Reverse Plank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
pElvis and hips
Plié Heel Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Coupé Turn-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Passé Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Inner-Thigh Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Arabesque Prep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Hip Flexor Pulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Attitude Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Hip Flexor Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
lEGs
Short Arcs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Wall Sit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Hamstring Curl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Hamstring Lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Side Scissor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Assisted Développé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Descending Battement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
anklEs and fEEt
Doming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Big-Toe Abduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Inversion Press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Winging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Relevé With Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Seated Soleus Pump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Toe Isolations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Ankle Dorsiflexion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
exercise finder
193
WholE body
Wall Plié . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Side Bend With Resistance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Diagonal Twist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
High Kick With Resistance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Attitude on Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Plank and Pike . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Bounding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Airplane Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Parallel Dégagé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
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Photo courtesy of Peter Mueller
about thE author
J
acqui Greene Haas has been the athletic trainer for the Cincinnati Ballet
since 1989, is the director of dance medicine academic seminars (www.
dancemedicine.net), and is the director of the dance medicine division of Wellington Orthopedics in Cincinnati, Ohio, where she treats dancers in physical
therapy, postsurgical rehabilitation, and general conditioning.
A former professional ballet dancer with Boston Ballet, Southern Ballet Theatre, Tampa Ballet, New Orleans Ballet, and Cincinnati Ballet, Jacqui holds a BA
in dance from the University of South Florida and an athletic training certificate
from the University of Cincinnati. She also has a certificate in Pilates instruction from St. Francis Memorial Hospital dance division in San Francisco and a
certificate in Pilates rehabilitation from Polestar Education in Miami, Florida.
She has developed injury-prevention programs for numerous dance studios
as well as the McGing Irish Dancers, the School for Creative and Performing
Arts, and the University of Cincinnati dance department.
Jacqui is a frequent presenter, speaking to dancers, instructors, and health
care practitioners, including presentations at the International Association of
Dance Medicine and Science and the National Athletic Trainers’ Association
conferences. She has been published in Dance magazine and Advance Rehabilitation magazine.
195
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In the U.S. call 1-800-747-4457
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POSTERS
Each book in the Anatomy Series provides detailed, full-color anatomical illustrations of the
muscles in action and step-by-step instructions that detail perfect technique and form for each
pose, exercise, movement, stretch, and stroke.
To place your order, U.S. customers call TOLL FREE1-800-747-4457
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HUMAN KINETICS
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KINETICS
The Premier Publisher for Sports & Fitness
The
Premier Publisher for Sports & Fitness
P.O. Box 5076, Champaign, IL 61825-5076
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